Tuesday, August 22, 2017

Lewis was in awe of Martin and a little in love with him.

Hey pallies, likes we're back with more swank scribin' on our most beloved Dino and his most beloved partner, Mr. Jerry Lewis.  This time 'round the rememberin' comes from the Brit blog, "DailyMail.com."  Written by Mr. Michael Thornton this look into the decade long partnership of Martin and Lewis is tagged "How Hollywood's golden double act became its most bitter enemies: As Nutty Professor star Jerry Lewis dies at 91, the toxic truth behind his goofing around with Dean Martin."

Likes while the prose shares bits and pieces of Mr. Lewis' life and time, the beautiful bulk of Thornton's words focus on the partnership of stunnin'ly successful partnership of Martin and Lewis that after ten years went awry.   While the prose reveals some less then complimentary comments on Lewis, I don't believe that anythin' really negative is said here 'bout our most beloved Dino.  And, if youse are like we, you will find one or two thoughts shared 'bout Martin and Lewis that are new to the mix.

We thanks Mr. Michael Thornton and all the pallies at "DailyNews.com" for not only rememberin' the passin' of Mr. Jerry Lewis, but takin' this opportunity to remember the remarkable relationship between our Dino and Mr. Lewis.  To checks this out in it's original source, likes simply clicks on the tag of this Dino-message.

We remain,

Yours in Dino,

Dino Martin Peters

How Hollywood's golden double act became its most bitter enemies: As Nutty Professor star Jerry Lewis dies at 91, the toxic truth behind his goofing around with Dean Martin

By Michael Thornton for the Daily Mail

Controversial: Jerry Lewis, right, with Dean Martin

Controversial: Jerry Lewis, right, with Dean Martin

For many people, Jerry Lewis, who has died at the age of 91, was an acquired taste. His screen persona — the disaster-prone, goonish, goofy dimwit, with a face that mugged so incessantly that it resembled a rubber mask — was one that some found resistible.

As he fell down stairs, off ladders, out of windows and planes, into holes in the road and swimming pools, cinema audiences were inclined to become exhausted by the spectacle. The distinguished critic Milton Shulman once told me that he would rather crawl through ten miles of barbed wire than sit through a Jerry Lewis movie.

Yet there was no denying his astonishing popularity. From 1952, for five consecutive years Lewis and his screen partner, singer Dean Martin, were among the top ten money-making stars in the world.

After his acrimonious split from Martin in 1956, Lewis alone continued to make the list of the golden ten, and then in 1963, his name, as a top box-office star, abruptly vanished from view.

Four years later, it was Dean Martin’s turn to enter the list as an international money-maker. There was an irony in this, for the bitter professional rivalry between the former partners had escalated into something resembling hatred.

 As a man, Jerry Lewis, to put it mildly, was controversial. He was very far from being the cuddly innocent of his screen portrayals. In private, he had a violent and uncontrollable temper. He was to be accused, by two of his six sons, of being a cruel and abusive father. He split from their mother, his first wife, after 35 years of marriage, and married a girl half her age.

Even his much-publicised philanthropy and fund-raising for the Muscular Dystrophy Association was to provoke criticism from MD sufferers and friends alike.

Actor Elliott Gould, to whom Lewis had been a childhood idol, was to say of him: ‘He blatantly tells you on network TV that he is the epitome of the socially conscious man, a great humanitarian . . . Actually, he’s one of the most hostile and unpleasant guys I’ve ever seen.’

'Lewis and Martin had little in common but somehow, on stage, they gelled'

'Lewis and Martin had little in common but somehow, on stage, they gelled'

Jerry Lewis was born Joseph Levitch to Russian parents on March 16, 1926, in Newark, New Jersey, where his father, who used the stage name, Danny Lewis, was appearing in vaudeville. His mother, Rachel Brodsky, was a pianist for a radio station.

Jerry, as he would call himself, started performing at five, often alongside his parents. By 15, he had developed an act in which he mimed to records.

Two days after his 18th birthday, Lewis met a band singer five years his senior, Patti Palmer, who defied her Italian-Catholic parents and Jerry’s Jewish family to marry him. At the age of 20, and with their first son now a year old, Lewis appeared for the first time at the 500 Club in Atlantic City with a handsome Italian singer nine years older than himself.

 His name was Dino Crocetti, but he called himself Dean Martin.

An effective double act was forged, with Lewis as the ad-libbing clown and comic, and Martin as the charming, attractive and relaxed ‘straight man’ who provided the songs.

They had little in common but somehow, on stage, they gelled. The act began to play top dates and then graduated to radio with their own show. In June 1948, two years after their first appearance together, the duo took America by storm in Ed Sullivan’s Toast Of The Town TV show.

A Hollywood producer caught their nightclub act and signed them to a five-year contract with Paramount, starting in 1949 with the comedy, My Friend Irma, the first of 16 films in which Martin and Lewis were to become box-office gold.

In 1952, they appeared in The Stooge, which seemed like an autobiographical study of a vaudeville double-act like their own, with Martin giving a surprisingly strong performance as a conceited song-and-dance man and drunk. Hollywood insiders didn’t think he had to do too much acting.

Both men were heterosexual, but their friends believed the impressionable and highly emotional Lewis was in awe of Martin and a little in love with him.

It was here that the divergence in their characters became crucial. Lewis was frenetic, obsessive and ambitious, qualities that made the laid-back Martin uncomfortable. As Lewis himself admitted: ‘When the light goes on in the refrigerator, I do 20 minutes.’

Martin observed cynically: ‘At some point he said to himself, “I’m extraordinary, like Chaplin”. From then on nobody could tell him anything. He knew it all.’

As their fame increased, the stresses and strains magnified. Lewis accused his wife, Patti, of having an affair with Martin. There were rumours that the comedy partners had been involved in a violent fist-fight.

Lewis felt himself excluded and sidelined from The Rat Pack, the showbiz entourage surrounding Frank Sinatra, in which Dean Martin was a central figure. ‘The Mob’, it was said of the group’s supposed Mafia links, ‘tolerated Jerry but they loved Dean’.

Lewis told Martin of ‘the love we still have for each other’. Martin replied coldly: ‘You can talk about love all you want. To me, you’re nothing but a dollar sign.’

And so the partnership that had made millions at the box-office ended in bitterness and enmity. Lewis admitted he was in tears, shaking and fearful of the future, but neither would back down.

'The partnership that had made millions at the box-office ended in bitterness and enmity'

'The partnership that had made millions at the box-office ended in bitterness and enmity'

Apart from brief formal encounters, there was to be no reconciliation between them for 20 years, and even then it was temporary.

No public explanation was given for the split, and for many years neither man would speak the other’s name. In 2005, ten years after Martin’s death, Lewis published a schmaltzy apologia of his relationship with Martin, entitled, Dean And Me (A Love Story).

To the surprise of Hollywood observers, Lewis’s career survived the loss of Dean Martin. In 1959, Paramount negotiated a new long-term contract with him. ‘Fantastic terms’, said Lewis, ‘the price staggering. I would star in 14 films over the next seven years and get ten million dollars.’

Many of these films – such as The Bellboy, The Nutty Professor, The Patsy, and The Family Jewels — Lewis not only starred in but also wrote and directed.

But his brand of frantic comedy began to go out of style. His name vanished from the list of top money-making stars after 1963. By 1971, public support and financial backing had evaporated.

Lewis, now 45, was no longer an appealing juvenile, and Paramount dropped him. For a time, he taught a film directing class at the University of Southern California, where his students included Steven Spielberg.

His fortunes improved with his performance in Martin Scorsese’s film, The King Of Comedy, in 1983, as a late-night TV host, who is plagued by obsessive fans

In September 1980, after 35 years of marriage, Patti, weary of her husband’s serial infidelity, filed for divorce, claiming $450,000 a year in alimony and half their community property, judged to be worth in excess of $7 million.

Lewis filed for bankruptcy, and Patti eventually received less than one-quarter of the amount she had sought. She was forced to give up her Hollywood home in 1993 and move into a small apartment in West Los Angeles.

When Lewis’s 1963 film, The Nutty Professor, was remade with Eddie Murphy in 1996, Patti went to court to claim Lewis had tried to cut her out of the remake profits, of which she was entitled to 50 per cent.

Lewis married Sandra Pitnick, a dancer half Patti’s age and 25 years his junior. They adopted a daughter, Danielle, on whom Lewis lavished paternal affection, which was in marked contrast to how he had treated his sons.

He disowned his youngest son Joseph in 1989 after he informed a tabloid that his father ‘physically and mentally abused all of his kids on a routine basis’.

When Joseph died of a drug overdose in 2009, Lewis made no comment, and failed even to inform his eldest son, pop musician Gary Lewis, of his brother’s death.

Now that Jerry Lewis has died, his old films will be played and that manic energy will leap from the screen once more. But all the gurning in the world cannot wipe away the traumas this singular performer left in his wake.

Monday, August 21, 2017

Brotherly Love: Why Jerry Lewis and Dean Martin Never Really Broke Up

Tim Grierson
Hey pallies, likes Dino-history is still bein' made and yesterday, August 20, 2017 will now be an immensely important date in our Dino's story as yesterday our most beloved Dino's most beloved partner in comedy, Mr. Jerry Lewis left our planet at the age of 91.  Certainly we gotta 'fess up that we have mixed emotions on Lewis' passin'.  Likes indeed we are deeply saddened by the lost of Mr. Lewis from our presence, and the loss of the man who knew our Dino better then any other livin' bein'.

But, we also gotta 'fess up that with the death of Mr. Lewis comes a awesomely amazin' outpourin' of powerfully potent prose rememberin' Lewis' life and times and thus many many marvelous mentions of our Dino and his decade long remarkable relationship with him.  We here at ilovedinomartin are committed to share many many of the touchin' 'n tender tributes to Mr. Lewis that have been scribed and will continue to be scribed in the comin' days.

We begin today on this day after Mr. Lewis' passin' with wonderfully wise words scribed by author Mr. Tim Grierson,  a contributing editor for entertainment at "MEL Magazine - How to be a guy."
Mr. Grierson's hugely honorin' homage is tagged "Brotherly Love: Why Jerry Lewis and Dean Martin Never Really Broke Up" and is a marvelous mix of prose and vid clips awesomely accentin' the "brotherly love" relationship that our Dino and Mr. Lewis shared durin' their decade together as well as afterword.

We are proudly pleased to begin our series of posts on the relationship between our Dino and Mr. Lewis with this energetic effort and we shouts out our thank you very much to Mr. Tim Grierson and all the pallies at "Mel Magazine' for this respect reflection of the  ubber unique relationship that our Dino and Mr. Lewis shared.  To checks this out in it's original source, simply clicks on the tag of this here Dino-gram.

We remain,

Yours in Dino,

Dino Martin Peters

Brotherly Love: Why Jerry Lewis and Dean Martin Never Really Broke Up

Jerry Lewis met Dean Martin in New York in March 1945. As he later recounted in Dean & Me: (A Love Story), Lewis was newly married with a kid on the way, and he was trying to make his name as an oddball comic when he crossed paths with Martin, who instantly captivated him. “Men don’t like to admit it,” Lewis writes in the memoir, “but there’s something about a truly handsome guy who also happens to be truly masculine — what they call a man’s man — that’s as magnetic to us as it is to women. That’s what I want to be like, you think. Maybe if I hang around with him, some of that’ll rub off on me.”

In Martin, who was about nine years older, Lewis (an only child) found an older brother who seemed far more confident and sophisticated than he did as a geeky, insecure teen. “The truth is, funny sentences were always running through my brain: I thought funny,” Lewis wrote in Dean & Me. “But I was ashamed of what would come out if I spoke — that nasal kid’s voice. So I was funny on stage, but I was only part funny: I was still looking for the missing piece.”

Martin was the missing piece, playing the suave straight guy to Lewis’s crazy buffoon. They quickly went from nightclubs to radio to television to movies, the name “Martin and Lewis” becoming synonymous with a kind of high/low comedic assault that merged banter and vaudeville.

The legend of this duo — who were one of the biggest acts of the 1950s — sometimes simplifies the two men into Martin as the dull, crooning dreamboat and Lewis as the hyperactive “monkey,” to use the term Lewis mockingly ascribed to himself. Those simplifications did a disservice to both men, which Lewis acknowledged in his book, giving Martin his due as a comedic mastermind and an expert ad-libber. “Over the next 60 years, I would come to understand it better and better,” he explained of Martin’s talent. “The vast majority of comedians with good rhythm use beats — small hesitations, often with some comic business or other — to set up their jokes. Dean didn’t use beats. I was in the presence of magic.”

But eventually, egos got in the way. On film, Martin may have been the cooler, older brother, but behind the scenes, Lewis had all the control, longing to be seen as the true genius. As Martin later complained, “He read a book about Chaplin,” referring to the iconic screen legend Charlie Chaplin, who wrote, directed and produced his own material. “At some point, [Lewis] said to himself, ‘I’m exactly like Chaplin,’ and from then on no one could tell him anything.” Such frustrations no doubt inspired Martin to once famously lash out at his partner, “[You’re] nothing to me but a fucking dollar sign.”

After 10 years together, Martin and Lewis finally parted ways, both men finding success on their own. Martin became part of the Rat Pack, while Lewis began starring in his own movies, eventually taking the reins of his career by writing and directing features like The Nutty Professor. In that film, Lewis plays his trademark screwball-character type as Julius Kelp, a nerdy scientist who transforms himself into the despicable Buddy Love, a swingin’ lothario that many assumed was supposed to be a savage parody of Lewis’ old partner. (Lewis always denied it.)

But despite the fact that the two performers refused to speak to one another after their split, their association remained, years later, fully cemented in the public’s imagination. As film critic Shawn Levy, who wrote the biography King of Comedy: The Life and Art of Jerry Lewis, observed, “There was a strange hint of something like sexuality between” Martin and Lewis in their films. For instance, they remade romantic comedies but turned them into buddy movies in which Lewis was always the female role.

Also, Levy points out, “There was an unusual physical intimacy to their act — Dean would lift Jerry in his arms like a big baby, they would pat one another’s cheeks, they nearly kissed on camera at times, staring into each other’s eyes with big, sincere grins.”

All of that may be true, but it more accurately translated into brotherly love than any kind of sexual repression. Their partnership, and its aftermath, was everything we’ve come to expect from siblings: contentious, but with a begrudging understanding that the other person knows you better than anyone else. Little wonder that after they split, as Lewis writes in Dean & Me, “I understood how an amputee must feel.”

It wasn’t until their mutual friend Frank Sinatra got them on stage together during the 1976 Jerry Lewis MDA Labor Day Telethon that they once again shared the spotlight. Sinatra surprised Lewis with Martin’s appearance, which threw the host for a loop. As he recalled later, “I just looked up to heaven and said, ‘Dear God, give me something to say.’”

When Martin died in 1995, Lewis went to the funeral. As he writes in Dean & Me, “I lost my partner and my best friend. The man who made me the man I am today. I think of him with undying respect. I miss him every day I’m still here.”

While Martin and Lewis had gone their separate ways, they never could escape one another.
Just like family.

Tim Grierson is a contributing editor at MEL. He last wrote about whether or not death would be easier to deal with if you could replicate and control your loved ones.

.....and letting Dean Martin’s voice coax my body to sway in a dastard display of playfulness.....

Image result for dean martin sway

Hey pallies, likes the Dino-truth is that there are ultra ubber unendin' wonderful ways of hugely homagin' our beautifully beloved Dino 'cause pallies 'pon pallies keep fallin' deeper and deeper in love with our main man and greatly gently offer their generous gifts of touchin' and tender talent to swankly share their deepest of deep devotion to our Dino.

Likes today we are thrilled to visit with the swankly solemnly scribed perfectly poetic pad, "ANGIEINSPIRED" where Miss Angie has incredibly inspired to share her poetic prowess in her poem tagged "5 o’clock."  We gotta 'fess up that there is always always somethin' so so stunnin'ly special 'bout discoverin' 'nother pallie with the gift of puttin' words on paper, likes 'specially when in poetic form, that simply brings the deepest of deep Dino-pleasure to our bein' and Miss Angie's perfect poetry is no no exception.

Likes we can see Miss Angie "letting Dean Martin's voice coax (her) body to sway!"  How wonderfully delight is that Dino-image?!?!?!?!  And, how cool of  Miss Angie to accompany her coolly crafted thoughts with a youtube vid of our most beloved Dino croonin' the tune "Sway".....marvelously magical indeed pallies!  We salute Miss Angie for honorin' our Dino in this wonderful way and helpin' her remarkable readership fondly focus on our one and only Dino.  To checks this out in it's original form, simply clicks on the tag of this here Dino-gram.

We remain,

Yours in Dino,

Dino Martin Peters

5 o’clock

hits us
like clockwork
— we’re hungry,
and happy, and
slightly amused
by the bra-lessness
of the five of us
(mother like daughters)
moving our shoulders
hips, and stockinged
feet across the kitchen floor
— the only man ever watching us
croons, “wow you’re beautiful,”
but i’m otherwise interested
in chopping onions and
letting Dean Martin’s voice coax
my body to sway in a dastard
display of playfulness
i often swim in and out of
like the perfumed fish that i am
how did Susie know I danced last night? ūüėÄ for Toads

Sunday, August 20, 2017

Danny G's Sunday Serenade with Dino: "In Love Up To My Heart"

Howdy, my friends!

Giddy-up, youse little Dino-diggin' tumbleweeds! 

I reckon' it's 'bout time for a wee bit o' country croonin' from our GREAT GREAT pony ridin' pal, Tex Martin! Haha!! 

Yee Hawww, pallies! Hahaha!!!

It's long over due & I'm missin' that COOL COOL cowboy!

C'mon now!
I said Giddy-up & all that!

I'm tryin' here, pals! Haha!!

Fine...so I'm not much of horse saddler.
I'm still a BIG fan of Dean's country-type tunes!

Youse are too?

Let's get one spinnin'! 

This week's Serenade is off Dean's "The Nashville Sessions" al b um & as I've said here before...It's one of the ONLY country al b ums I actually dig!

Just not my bag, mi amici.

Well...let me take that back.
I actually do KINDA dig some of the "older" country jams.

Reminds me of my Dad & growin' up.
That was his thin'. Haha...good ol' Pop!

But...I'm just not into today's "newer" "country pop"...I'll call it.

But, hey...I digs ALL types of music & obviously EVERYTHIN' from our Dino!

Now...that bein' said..."In Love Up To My Heart" is a swingin' little number 'bout gettin' shot by Cupid's arrow...when youse least expects it, mi amici!

I guess we never know just where or when that little dude's bow is pointed straight at us...right between the eyes,  pals!!!

So...I suppose if even ol' Dino can be caught off-guard...this could happen to any of us!

Man o' man...it's a crazy game we ALL gets to play...even us city-slicker cowboys! Haha!!

Enjoy pallies!!!

I always left some room to back away
Whenever love would get too close to me
I've always kept my feet on solid ground
And my head out of a cloud, no broken heart for me

But there you were, and there I was off-guard
Not able to protect me from your charm
And I felt myself fallin' further
Closer you got
And I fell in love up to my heart

I fell into love up to my heart
I couldn't stop myself, I went too far
I was standin' on the edge and then
Next thing I knew I had
Fallen in love up to my heart

I can feel myself fallin' more and more
And there's no use in fightin' anymore
'Cause you went to my head and
All my defenses fell apart
And here I am, in love up to my heart

I fell in love up to my heart
I couldn't stop myself, I went too far
I was standin' on the edge and then
Next thing I knew I had
Fallen in love up to my heart

I was standin' on the edge and then
Next thing I knew I had
Fallen in love up to my heart

Saturday, August 19, 2017

Dino at his easygoing zenith.............

Image result for STEVE BORNFELD
Hey pallies, likes through the magic of Twingly Advanced Blog Search we landed yester-Dino-day at
the entertainment section of the online presence of "las vegas MAGAZINE".....for Mr. Steve Bornland's swank scribin's tagged "LAS VEGAS: A RECORDED HISTORY."  Likes as indicated by the tag of his potent post Mr. Bornfeld remarkably references 23----count 'em----23 al-b-ums recorded live in our Dino's playground....'vegas baby 'vegas!

Well, likes the name of our darin' Dino is lifted up here twice and youse will note below: first, for his part in the awesome al-b-um "The Rat Pack Live at the Sands." and second, for his own amazin' al-b-um, "Dean Martin: An Evening of Music, Laughter and Hard Liquor."

We are perfectly powerfully pleased to see Mr. Bornfield helpin' to keep the Dino-light glowin' ever Dino-bright in his coolest of cool column, with the Dino-portion shared below.  We sez our thank youse very much to Bornfield and all the pallies at the "las vegas MAGAZINE" and trust this effort will be used to bring many many more into the Dino-fold.  To read this prose in total in it's original source, simply clicks on the tag of this Dino-message.  And, doin'  just a wee bit of Dino-searchin' at youtube we found both al-b-ums shared in vid format, so for all youse Dino-holics listenin' pleasure they are shared below.

We remain,

Yours in Dino,

Dino Martin Peters



AUGUST 18, 2017

Glitz, glamour, razzle-dazzle and razzmatazz—all poured into your ears. For years. Even when you’re not seated in a showroom, plopped in a lounge or on your feet in an arena, the Vegas vibe has always been aurally ubiquitous via classic live albums captured on our stages, which have long been catnip for headlining recording artists (and a few rather unique performers). Determined to keep our toddlin’ town alive in your heart and auditory canals long after you’ve departed our neon nirvana, we’ve arranged a buffet of the most notable selections (with recording dates and hotels/venues, listed in chronological order). Gorge yourself—acoustically speaking.

The Rat Pack Live at the Sands (1963) Obviously the time-capsule choice, chronicling the musical antics of Vegas’ signature merry mob as Frank, Dino, Sammy, Joey and Peter cavort and croon in a zinger-rich romp. As Dino declares, “If you wanna hear me sing serious, buy an album.” Therefore ...

Dean Martin: An Evening of Music, Laughter and Hard Liquor (1964, Sands)Dino at his easygoing zenith, on a 28-tune tear, including “That’s Amore,” “On an Evening in Roma” and the one everyone knows—or should: “Dance With a Dolly with a Hole in Her Stocking.”


Rat Pack - Live At The Sands (1963) (full show)

Dean Martin - An Evening Of Music, Laughter And Hard Liquor

Friday, August 18, 2017

And we have now revealed enough points of symmetry between Dino and our fledgling Elvis to give us due pause.

Hey pallies, likes 'cause we were on a roll of cruisin' the ol' 'net for potent prose on the Dino/Elvis connect we came 'cross one more amazin'ly awesome article form the Aussie Elvis fansite, "ELVIS AUSTRALIA - Official Elvis Presley Fan Club."  Simply tagged "Elvis and Dean Martin," it was scribed a number of years ago, in the year of our Dino 2005, by Mr. Chris Spedding."  Doin' a bit of research on Mr. Spedding we found that he is premier professional  Brit rock and roll Guitarist/Singer/Songwriter  himself.  You can learn all 'bout his cool credentials at his website found HERE.

Mr. Spedding has a wonderful way with words and we really dug the wise ways he coolly connects the delightful dots between our King of Cool the King of Rock and Roll.  Some of his intriguin' insights are ones that have been shared here by other scribers, but some of his remarkable research is completely new to our eyes and ears and we are totally totally thrilled to have happened 'on Chris's comments and to be able to pass 'em on to Dino-holics everywhere!.

Indeed, we sez our thank you very much to Mr. Chris Spedding for this excitin' essay hugely homagin' how deeply deeply Mr. Elvis Presley was incredibly influenced by our most most beloved Dino.   Our only regret is that it took us so so long to find and share these Dino-reflections.

Now pallies, likes ain' this a kick in the head....likes as just wrote this words, we thoughts to ourselves, "Maybe we did share this before, and low and behold we had shared Spedding's scribin's back on May 29, 2009 (we gotta 'fess up that we simply can't remember everythin' that has ever been Dino-published here) and you can locate it  HERE.  Well, it's been over 8 years since we shared these thoughts, so it's 'bout time we does it 'gain!

To checks this out in it's original source, per usual, simply clicks on the tag of this here Dino-gram.

We remain,

Yours in Dino,

Dino Martin Peters

Image result for dean martin elvis presley

Elvis and Dean Martin

By: Chris Spedding
Source: Elvis Australia
March 18, 2005 - 10:20:00 AM

The Elvis Presley legend has been growing since his first impact over forty years ago - the same time that rock'n'roll made its first impact. Successive generations of well-intentioned but misguided myth-makers have been dismayed that their supposedly infallible icon Elvis and rock'n'roll parted company at some point.

They don't have a satisfactory explanation for it. Oh, they write reams of scholarly theses defining the music and fight dearly to keep their precious flame burning, yet become oddly discomfited and evasive at the prospect of their own anointed king holding court at that graveyard of rock credibility, Las Vegas - and worse still, appearing in silly, lightweight Hollywood movies. These muddled courtiers can commit no more lese majeste than to mumble that maybe their apostate king had 'sold out'.

When Elvis Presley was introduced to Dean Martin's daughter Deana, Elvis leaned in and said, 'They call me the King of Rock and Roll, but your dad is the King of Cool', recalls Deana Martin. 'I almost died', she said. 'It has to be true, Elvis Presley thinks my dad is the King of Cool'.

There is an explanation for all this, however, and it occurs in one of the more palatable of the Presley bios, Jerry Hopkins' Elvis, and the fact that Hopkins himself didn't jump on it instead of giving it a mere passing reference shows how brainwashed these writers were by their own propaganda.

The reason it was left in Hopkins' manuscript at all was probably because it represents one of the few accredited quotes from the one person most sources agree can legitimately lay claim to having 'discovered' Elvis, the office manager of Sam Phillips' Sun Records studio in Memphis, Marion Keisker, who tells of a not entirely successful first audition Presley had with Phillips. According to Marion, Sam asked Elvis to run through some of his repertoire, which seemed to lean so heavily on Dean Martin stuff, she thought Elvis had decided '...if he was going to sound like anybody, it was going to be Dean Martin'. Horror of horrors! Now this is just not cool, fellows, I hear the myth-makers say. Hopkins himself leaves this extraordinary snippet unexplored and other writers have given it a wide berth.  It takes only the most casual research of this lead to unearth evidence on a par (for the rock world at least) with the Dead Sea Scrolls. All the more remarkable since the evidence has been there all along for anybody with eyes to see and ears to hear.

Around 1955, Dean Martin had a big hit, 'Memories Are Made Of This'. Do yourself a favor and check it out if you can find it. Then take another listen to the song Elvis always said was his favorite cut, 'Don't Be Cruel', a hit in the summer of the following year, 1956. Now, apart from the fact that Elvis borrowed that descending-bass-run-followed-by-guitar-chord ending from the arrangement on Martin's record, other common elements are that sexy, wobbly, almost hiccuping baritone vocal not yet identifiably 'rock' until Elvis made it so and Martin's novel use of a four-piece male gospel-type vocal group which we may assume helped inspire Elvis, steeped as he was in traditional gospel music, to introduce the Jordanaires on his cut, effectively integrating them into a unique blend with his own lead vocal, thus establishing another rock archetype. Another obvious nod in Martin's direction, released when Elvis was well established as a pop mega-star in the summer of 1959, was Elvis' 'My Wish Came True', which had an opening four-note motif identical to Martin's 'Return To Me', (both titles having four syllables!) released in April 1958. Even the key is the same. Dean Martin and Elvis Presley were moving in such divergent paths by this time that none of this was commented upon or even noticed at the time. And I suspect that Elvis wouldn't have given a rat's ass if it had been. Because shortly after this he was to step, unnoticed, totally out of the closet with his release of 'It's Now Or Never', an English-language version of the Italian favorite, 'O Sole Mio' - a rather staid choice, one might say, for our supposed enfant terrible of rockabilly. These three songs are even more compelling evidence of Martin's influence than Elvis' actual cover of Martin's 1950 ditty, 'I Don't Care If The Sun Don't Shine' in 1955.

Now, if it's so fashionable and cool to cite a black artist like Arthur Crudup, whose 'That's All Right, Mama' Elvis recorded, as a bona fide influence, then why not the former piece of stylistic plundering? Without wishing to minimize Crudup's contribution to Presley's fast maturing style, Martin's influence seems to be pretty much ignored as unfashionable and uncool. People are just seeing and hearing what they want to see and hear. Dare I suggest that the specter of such an artist as Martin so influencing their precious new savior was not to be countenanced by the rock religion's new priesthood?

For if we reevaluate Presley's early career in this new light we can see how many of those actions previously dismissed (or considered perverse when they could not be conveniently ignored) now fall into place quite neatly. You see, Elvis was naturally fair-haired. He dyed his hair black. (He appears as a 'dirty' blond in some early shots, his natural hair-tone already darkening through liberal applications of 'Nu-Nile'.)

Filmed later in Technicolor, Elvis' obsidian do had that same almost blue-black sheen you can see in Dean Martin's movies. And Martin at the time of which we speak was the most bankable of matinee idols: he made hugely successful pop records; starred (with partner Jerry Lewis) in a series of low budget/high yield light comedy movies; could and did write his own ticket on the lucrative Las Vegas circuit; and (importantly for Elvis) had mucho sex appeal! (Is this starting to make a little sense?)

Martin was a genuine heartthrob, and with his self-mocking approach to sexuality demonstrated to Elvis how to cash in on this most marketable of commodities with the brazenness of a male Mae West!

There are no less than seventeen references to Elvis in Nick Tosches 1992 'Dino' but for me the most telling is on page 394, when Elvis glimpses his hero in the audience during his show at the International in Vegas in January 1970. 'Seeing him at ringside, Elvis, elated sang 'Everybody Loves Somebody' in his honor'.

This is the same guy who worried about forgetting the lyrics to his own hits but was confident enough in remembering his idol's latest hit to give an impromptu performance of it!

Granted, Dean Martin was a comparative cultural and musical lightweight, but Elvis is not alone in music history in being able to combine incongruous influences into something world-shattering.

Some parallels would be the influence Anthony Newley had on the emergent David Bowie, and the effect Woody Guthrie and Rambling' Jack Elliott had on Bob Dylan.

Every great artist models himself on someone during his formative years. And, when he comes into his own will transcend his earlier influences. And we have now revealed enough points of symmetry between Dino and our fledgling Elvis to give us due pause.There were no rock'n'roll stars for Elvis to emulate - he was, after all, the first! And he was to go on and eclipse his mentor in every way.

I'm going to leave it at that for now? no sense in spoiling my case by overstating it! I am aware that I will now be considered a dangerous heretic by certain stalwarts of the true religion.

But from my point of view it's now up to those worthies to redress the balance, if they don't already have too much egg on their faces. The worst that could come out of this for me would be for there to be discovered a recording by Dean Martin of 'Hound Dog'.

Thursday, August 17, 2017

In Dean Martin Elvis found a singer who flawlessly exhibited the ability to sell a song with an easy-going, ultra smooth delivery and a hint of the mischievous.....

Hey pallies, likes as we were doin' a bit of 'net researchin' 'bout Mr. Elvis Presley's absolutely awesome adulation of our most beloved Dino, we were thrilled to coolly come 'cross the powerfully potent prose below tagged "How Elvis was influenced by Dean Martin," scribed by Mr. Nigel Patterson in 2002 and found at "Elvis Information Network," first appearin' in "Elvis Monthly."

Likes as all youse Dino-holics will see as you read on, these are wonderfully wise words on the life and times of our Dino with the exception that Mr. Patterson misstates the date of our Dino's birth as June 6, 1916 when, of course, our Dino entered our planet on June 7, 1917.  Even without  the remarkable references by Patterson of all the cool connections between our Dino and Mr. Presley, this is a terrific testimony to our King of Cool.

Most of the Dino-Elvis connects are ones that we have heard 'bout before and most have been shared here at ilovedinomartin previously as well.  But, likes it is swankly sweet to see 'em all in one place at one time.  One this day after the 40 anniversary of Mr. Presley's passin' we are greatly grateful to be able to share all these lovin' references of truly truly how much Elvis loved our Dino and how much he simply wanted to be like him.

We sez our touchin' 'n tender thanks to Mr. Nigel Patterson and all the pallies at "Elvis Information Network" for their remarkable research and sweetly scribed sentiments on "How Elvis was influenced by Dean Martin."  btw pallies, as usual we have shared the link to the original postin' but recently checkin' it out we were warned not to proceed.  We're just glad that we got to snag this before some problemo seems to have developed at the site.

We remain,

Yours in Dino,

Dino Martin Peters

How Elvis was influenced by Dean Martin

by Nigel Patterson, 2002
Image result for dean martin elvis presley
Born Dino Paul Crocetti on June 6, 1916, Dean Martin would later become one of the entertainment world's biggest superstars and a major influence on a teenaged Elvis Aaron Presley. Many biographers have written about Elvis' admiration and idolisation of Dean Martin but unfortunately their reviews are often prematurely brief and light on detail.
It is in the few biographies on 'Dino' that this influence is best covered. I also recall an article in Elvis Monthly some years ago, although on going through back issues I was unable to find it.
Before Elvis assaulted the senses of 1950s culture, Dean Martin had enjoyed incredible success as a singer and actor. As an indication of his popularity, when Martin and his then partner, Jerry Lewis appeared at the 4,000 seat Paramount Theatre in New York in 1952, 75,000 fans created pandemonium in an attempt to get to their heroes. Such adulation had only previously been seen following the death of Rudolph Valentino.
As a singer Dino recorded countless hits including Come Back To Sorrento and Memories Are Made Of This and released more than 60 albums during his lifetime. He enjoyed considerable success on the charts between the late 1940s and the early 1970s with 17 top 40 hits on the Billboard Pop Chart and many more on the Country and Easy Listening charts.
As an actor Dino played straight man to comic genius Jerry Lewis in a highly successful series of films commencing with My Friend Irma and later became an impressive dramatic actor. For almost ten years from the mid 1960s Dean hosted one of the most successful television shows of all time The Dean Martin Show (in which his theme song was the incomparable Everybody Loves Somebody) and also featured in a series of successful musical specials.
In Dean Martin Elvis found a singer who flawlessly exhibited the ability to sell a song with an easy-going, ultra smooth delivery and a hint of the mischievous, traits Elvis would adopt in many of his own recordings and live performances. For like Dean, Elvis too knew that the secret to enjoying his craft was to have fun with what he was doing.
During his lifetime Dino was heard to comment on how much he disliked artists who sung too seriously. If you listen to Dean Martin singles over the period 1949 to the early 1950s you will find unmistakable similarities in the 'ballad' vocal style later adopted by Elvis. Dino's nonchalent way of twisting syllables and slurring notes became very much part of the Elvis style.
The most obvious examples are in the songs recorded by Dino which were later covered by Elvis. I Don't Care If The Sun Don't Shine (originally written for - but not used in - the Walt Disney production Cinderella) was recorded by both Patti Page and Dean Martin around 1950 (Dino's version was recycled in 1953 in the Martin/Lewis hit movie The Caddy). Their renditions are dramatically different and when Elvis cut his recording of the song in 1954 it was patterned on the vocal delivery and pacing of Dino's version.
Similarly, Elvis' renditions of Write To Me From Naples and My Heart Cries For You are almost a mirror image of Dean's much earlier plaintive versions. Compare also Dino's I'd Cry Like A Baby with Elvis' Love Me. Peter Guralnick in his superb Elvis biography Last Train To Memphis notes the major influence of Dino on Elvis, including referencing the time Elvis bought his single Return To Me.
It has also been noted by other biographers that the first Dean Martin song to affect Elvis was his 1949 single Just For Fun. Elvis recorded many other songs earlier sung by Dino. I'll Hold You In My Heart, I'm So Lonesome I Could Cry and Welcome To My World are several. Crying Time was a Dino song Elvis often sang while relaxing with his band and singers while both men would later record classics including Tom Jones' Green Green Grass Of Home, Engelbert Humperdink's Release Me and Glen Campbell's Gentle On My Mind.
And if only Elvis had recorded a number of other Dino hits, such as Sway, Return To Me and Basin Street Blues. It has also been claimed, although dubiously, that in October 1953 Elvis appeared at the Eagles Nest nightclub in Memphis and one of the songs included in his set was Dean's huge hit That's Amore. Considering Dean did not chart with this song until November 1953 (although it was released in August 1953) this is either wishful thinking or an error in time (Elvis is known to have appeared on numerous occasions at The Eagles Nest following the release of his first Sun single That's All Right, Mama in July 1954).
Dino's influence on Elvis extended past music. When he became famous Elvis also bought his britches from Dino's tailor, Sy Devore, although in defference to Elvis he wore his differently. The paths of Elvis and Dino crossed several times from the 1950s to the 1970s. In their 1956 buddy movie Hollywood or Bust Martin and Jerry Lewis are seen driving into Las Vegas with a large sign indicating Elvis' appearance at The Frontier Hotel.
A year or so later the first Dean Martin Show TV Special went to air. Dean had wanted Elvis to guest star but not surprisingly baulked at the Colonel's asking price of $75,000 - a veritable fortune in the 1950s!
According to Nick Tosches in his seminal work 'Dino', during Elvis' hibernation from live performing in the 60s Elvis apparently used to skulk past Dino's Bel Air mansion on his motorcycle, never summoning up the courage to go in. On 26 January 1970, Dino was a guest in Elvis' Vegas audience and in tribute to his teenage idol Elvis sang Everybody Loves Somebody.
Another connection between the two involved the ex-wife of Dean Martin Jr, ice skater Dorothy Hamill. It has been reported that Elvis expressed a great desire to date her in 1977. Tosches also notes in his biography on Dino that it was the arrrival and success of Elvis which caused Dean to become a serious actor - Elvis had replaced him as the "affable leading man" who had "an easy way with a song". For Dean to survive in Hollywood he had to change - the change being incredibly successful for him and ushering in a series of movie hits such as The Young Lions, Rio Bravo, Robin and the Seven Hoods and Airport.
For trivia buffs, in 1956 Dean recorded two sets of Children's Songs from Italy while RCA later released the conceptually poor album Elvis Sings For Children and Grownups Too. More recently, two unofficial Elvis CD releases bore the name of a Dino hit From The Bottom Of My Heart, although an Elvis version of the song was nowhere to be found on either CD.
Sadly, Dean Martin passed away on Christmas Day in 1995 following a long battle with emphysema. Like Elvis he has left a vast legacy through his many recordings, television specials/series and movies.
  • Dean Martin, All The Hits 1948-1963 (CD)
  • The Very Best of Dean Martin (CD)
  • A Tribute to Dean Martin, TV Documentary
  • Tim Brooks and Earle Marsh, The Complete Directory To Prime Time Network and Cable TV Shows
  • Peter Guralnick, Last Train To Memphis (The Rise of Elvis Presley)
  • Jerry Hopkins, Elvis
  • Nick Tosches, Dino (Living High In The Dirty Business Of Dreams)
  • Joel Whitburn, The Billboard Book of US Top 40 Hits
  • Fred L. Worth and Steven D. Tamerius, Elvis: His Life From A To Z
This article was prepared by Nigel Patterson and first appeared in 'Elvis Monthly' as part of the author's fourteen part series, Influences On A Legend. ©1998, 2002

Wednesday, August 16, 2017

..... he was there to record Dean Martin songs as a gift for his mother.

Hey pallies, likes 40 years 'go this very day, rock and roll legend Mr. Elvis Presley unexpectedly passed from our midst.  Many many times over the years we have been pleased to shared powerful posts   relatin' just how much Mr. Presley was deeply deeply devoted to our Dino, includin' the most famous of famous quotation Elvis spoke sayin' to one of our Dino's youngens, "“They call me the King of Rock and Roll, but your dad is the King of Cool."

Well, likes in honor of this 40th anniversary of Mr. Presley's untimely death, we were led to a post at the blog site, "Pittsburgh Post-Gazette," where Miss Sharon Eberson scribed the post "James Snyder channels the young Elvis in 'Million Dollar Quartet'" which is now playin' through August 13 at the Pittsburgh CLO  at the Benedum Center, Downtown.  Likes as part of that post there is a short paragraph that includes a reference to Mr. Presley's delight in our most beloved Dino....one that we ain't ever remembered hearin' before.

Likes as you will read below, when Elvis "first came to Sun Studios, he was there to record Dean Martin songs as a gift for his mother."  Likes if that don't tell us how deeply deeply devoted to our Dino we don't know what would!   The King of Rock and Roll began his remarkable recordin' career by recordin' some deep Dino-croons for his mommy-o!!!!!

We thanks the pallies at the "Pittsburgh Post-Gazette and in particular writer Miss Sharon Eberson for includin' this deepest of deep detail 'bout Mr. Elvis Presley's incredible idolization of our most most beloved Dino.  To checks this out in it's original source and read the prose in total, simply clicks on the tag of this here Dino-gram.

We remain,

Yours in Dino,

Dino Martin Peters

Image result for dean martin elvis presley

Elvis based his sound and his moves on African-American artists he admired, hit-makers such as Wynonie Harris. But when he first came to Sun Studios, Mr. Snyder notes, he was there to record Dean Martin songs as a gift for his mother. It was Mr. Phillips who recognized his talent, as he did for the others in the Million Dollar Quartet.

Tuesday, August 15, 2017

Dino sent a telegram to Elvis Presley that read, “If you can’t handle the Beatles, I’ll do it for you, pally.”

Hey pallies, likes today we are deeply delighted to rerun  yet 'nother remarkable reflection on that most delightful day in Dino-history when Billboard announced to the whole world that our most most beloved Dino had knocked the Beatles off the top of the charts with his coolest of cool croons, "Everybody Loves Somebody Sometime."

Today's Dino-gram first shared here at ilovedinomartin on August 16, 2016 comes our way from the blog "DO YOU REMEMBER," where scriber Miss Kaye Bassett Millar offers here delightful Dino-prose "King of Cool Dean Martin Declares “Everybody Loves Somebody.”   Miss Millar shares pretty much the familiar story how the events surrounding our Dino's recording of his pianist Ken Lane's song, and how it reached the top of the charts.  What brings us most delight is how Kaye shares the swank story of how our ever lovin' Dino sent his pallie  ,and hugest of huge Dino-devotee himself,  Elvis Presley a telegram announcin' his victory over the Beatles.  Youse can read Dino's words for yourself below.

We swankly salute Miss Kaye Bassett Millar at "DO YOU REMEMBER" for lovin'ly liftin' up for her readership this marvelously magical moment in the cool career of our one and only Dino, surely helpin' many many more pallies to come to know, love, and honor our King of Cool.  As usual, to checks this out in it's original source, simply clicks on the tag of this Dino-gram.

We remain,

Yours in Dino,

Dino Martin Peters

King of Cool Dean Martin Declares “Everybody Loves Somebody”

By Kaye Bassett Millar - July 28, 2016

In 1964, Dean Martin was finishing up recording his Dream with Dean album and had completed 11 songs. Albums always had 12 songs in the US, so Dean asked his conductor and piano player Ken Lane if he had something else for him. Ken said he had an old song he had written – “Everybody Loves Somebody.” Dean liked it and recorded it with just Ken, a bass player, a guitar and drums. The reaction to the cut on the album was so great that Dean went back into the studio and re-recorded it for a single release with a full orchestra and background singers. It was such a hit that it knocked “A Hard Day’s Night” out of its #1 spot on the charts. It became Dean’s theme song for his TV show the next year in 1965. The other version is still available on compilation albums.

When this knocked A Hard Day’s Night off the top of the US charts, Dino sent a telegram to Elvis Presley that read, “If you can’t handle the Beatles, I’ll do it for you, pally.”

(sourced from songfacts.com)

“Everybody Loves Somebody”

Everybody loves somebody sometime
Everybody falls in love somehow
Something in your kiss just told me
That sometime is nowEverybody finds somebody someplace
There’s no telling where love may appear
Something in my heart keeps saying
My someplace is here
If I had it in my power
I’d arrange for every girl to have your charms
Then every minute, every hour
Everybody would find what I found in your arms

Everybody loves somebody sometime
And though my dreams were overdue
Your love made it all worth waiting
For someone like you

If I had it in my power
I’d arrange for every girl to have your charms
Then every minute, every hour
Everybody would find what I found in your arms

Everybody loves somebody sometime
And though my dreams were overdue
Your love made it all worth waiting
For someone like you

lyrics by azlyrics.com

“I did it! I knocked ’em out of first place!”

Hey pallies, likes this very Dino-day as we were doin' our almost daily Dino-search of blog pads usin' the wonderful search engine Twingly Advanced Blog Search, we found a number of marvelous mentions of this hugely historic day in the life, times, and teachin' of our most beloved Dino....August 15, 1964, the date that our awesomely amazin' Dino knocked the Beatles off of their numero uno spot on the US record charts.

Likes, while we are not able to post all of these marvelous mentions, we would be remiss if we didn't share the one that comes from the Elvis Presley fan site, "Our Daily Elvis," which shares the glory of this incredibly immensely important Dino-date.  As you will note below the coolly celebratory, wisely written words from "Our Daily Elvis" that proudly proclaims our Dino's awesomely amazin' accomplishment, as well as shares the telegram that he sent to both Mr. Presley as well as Mr. Frank Sinatra.

It is so so remarkably refreshin' to find a fan site of Mr. Presley's liftin' up this extraordinarily epic moment in our Dino's cooler then cool career!  We solemnly salute the pallies at "Our Daily Elvis" for their reverent remembrance of our Dino's swankly stellar smashin' of the Beatles and sharin' it with their readership.  To checks this out in it's original source, likes simply clicks on the tag of these here Dino-remarks.

We remain,

Yours in Dino,

Dino Martin Peters

Related image

 August 15, 1964

Despite the fact that the US record charts are dominated by Rock and Roll, crooner Dean Martin has the number one tune with his biggest hit, “Everybody Loves Somebody”. It made it to #11 in the UK. The song had been around since 1949 and had been previously recorded by several well known artists without success. When Martin’s version pushed The Beatles’ “A Hard Day’s Night” out of the top spot on the Billboard chart, he sent telegrams to Elvis and to Frank Sinatra saying “I did it! I knocked ’em out of first place!”

On This Day In Dino-history: August 15, 1964

Hey pallies, likes time 'gain for ilovedinomartin to share one of the greatly greatest of the great days in all of recorded Dino-history. Likes from the pallies at the greatest of the great recorded music sites, "Billboard" comes the reminder that it was 53 years ago this very Dino-day that our most most beloved Dino boldly 'n beautifully busted the Beatles off of numero uno position on Billboard's Hot 100 Hit List with what became our main man's main croon..."Everybody Loves Somebody Sometime."

What a tremedous thrill it was then, and is still today to celebrate this hugest of hugest musical victory for our one and only Dino.  It took the magnificant 'n mighty, potently powerful power of our King of Cool to knock the Kingpins of Rock and Roll off of their throne.  Below is some powerful patter from the pallies at "Billboard" 'long with a great youtube vid of a live recordin' of our Dino croonin' his number uno hit.

We sez our thoughtful thanks to all the folks at "Billboard" who have honored our main man in this wondrous way...showin' that the transformin' power of our Dino simply grows greater and greater with each and every passin' year.  To checks this out in it's original format, simply, as usual, clicks on the tag of this here Dino-report.

We remain,

Yours in Dino,

Dino Martin Peters

Aug. 15, 1964
Iconic crooner Dean Martin notched his sole No. 1 Billboard Hot 100 hit with "Everybody Loves Somebody." The song proved that middle-of-the-road music could still reign after Beatlemania had begun changing the course of pop earlier that year. "Everybody," in fact, dethroned the Fab Four's fifth No. 1, "A Hard Day's Night."

Monday, August 14, 2017

Dean Martin at the crossroads

Hey pallies, likes comin' up tomorrow  we will once 'gain coolly celebrate that awesomely amazin' deeply delightful day in Dino-history when our most beloved Dino knocked the Beatles off the record charts with his signature croon, "Everybody Loves Somebody Sometime."   Likes today we are pleased as punch to share 'nother incredibly intriguin' international post on said topic from the Mexican news pad, "LA ORQUESTA.mx"

Swankly scribed by Mr. Carlos Lopez Medrano, "Dean Martin at the crossroads" is a wonderfully written piece of poetic prose, that as we stated, is a fresh retellin' of our most beloved Dino's recordin' of Ken Lane's touchin' 'n tender tune, "Everybody Loves Somebody Sometime" in two different formats.....that made it to numero uno in the Billboard singles charts in late summer of 1964.

Likes the particularly potent portion of Medrano's missive that completely captured our Dino-hearts are these on the second recordin' of the croon that sent our Dino over the top of the charts: "The new adaptation turned out to be magical ( Dino's way of saying " If I had it in my power"is a masterful detail: vibrant, almost a sputter, a sample of the creative flows within the execution). Their overwhelming strength aroused everyone's enthusiasm and Reprise Records (the label founded by Frank Sinatra to which it belonged) decided to release it as a single,"

We coulda goes on and on 'bout our amazin' appreciato for Mr. Medrano's awesome appreciato for our Dino, but then likes you woulda get to read it for yourselves, so let us just say....delightfully done Mr. Carlos Lopez Medrano!  It is remarkable refreshin' to find yet 'nother youthful scriber showin' such awesome adulation of our King of Cool...keeps it up pallie!  To checks this out in it's original source, simply clicks on the tag of this Dino-message.

We remain,

Yours in Dino,

Dino Martin Peters

Dean Martin at the crossroads | Column of Carlos L√≥pez Medrano

Better sleep
This text originally appeared on bigmaud.com
It was the beatlemania era during the first half of the sixties, and although almost everyone was fascinated with the Liverpool quartet , there were a handful of people who did not support him or at least they viewed him with suspicion, displeasure The envy. The most representative case was that of the American crooners , who were suddenly displaced by these young boys who came from the United Kingdom.  Frank Sinatra and Dean Martin did not see it well enough that someone came to take the attention of the general public and women, similar to what Elvis Presley also felt Most of them changed perspective over time.
Dean Martin cooks apart. He was the most difficult to accept that times had changed. The competition in the 1960s was suddenly dominated by extravagant hippie-minded people, which was incomprehensible to an old-fashioned guy like him, a son of Italian immigrants who liked short hair and quit nonsense (except in the nights Of drinks ... almost all). The animosity was such that one time on a television show he sang, along with other characters, a half-joking, half-serious, " I hate the Beatles ... " theme .
In 1964 the landscape was foggy for Dean Martin. It seemed that the future had swept with guys of his lineage. It was impossible to escape the new phenomena. Even his son, Dino Jr. , did not; To top it off the singer, at home had a big fan of those hairy. The father had to put up with that boy who sang "She Loves You" and other jewels from his room or in the kitchen. A symbolic act of parricide or a blow to vanity, as when the girl of your interest is enamored by the new student of the school to forget you.
The crisis of Dean Martin was accentuated by the fact that it had been six years without obtaining a single hit. The picture did not invite optimism. People were already looking for other things. And he was almost fifty years old. It seemed that his time had already passed. It was a fossil, someone who no longer belonged. But then came one of those moments of vindication offered by life if you keep your finger on the line and stay alert for opportunities.
During the sessions with Dream with Dean (1964), pianist Ken Lane suggested to Dean Martin to try out a song called "Everybody Loves Somebody". It was a piece from the distant 1947 that Lane himself had composed alongside Sam Coslow and Irving Taylor A pleasant tune of the old school that nevertheless had not had greater transcendence until the moment, although had been interpreted by figures of the stature of Frank Sinatra and Peggy Lee It was not budgeted that it was a highlight of the album, simply had to look for some padding to complete the twelve songs required for the project. And "Everybody Loves Somebody" could do the job. Without being an ambitious bet, the clock was missing a nut and it was not bad practice with a relic.
The test worked. An austere instrumental version (precious, it must be said) of "Everybody Loves Somebody" entered the album. The insistence of Jeanne Biegger Dean's wife - was key to being included in the final cut, as Javier M√°rquez points out in the Rat Pack book Living your way . She was the first to fall in love with the melody.
Still, Dean Martin was still stuck. And that particular song continued to attract him (the strange thing is that at first he saw it with skepticism). He felt a strange magnetism toward her. It was possible to get more juice, he thought. Although his career was not at its best, Dean's pride remained alive, it only required a knock at the table.  Perhaps the British invasion, indirectly, helped to get the best out of him and his team. The value of a man can be measured by the reaction he has when he is against the ropes. And although the music scene seemed to relegate him, the singer decided to continue in combat for another round.
So it was decided to record an alternative version of "Everybody Loves Somebody", this time with a little more rhythm and with orchestra. Dean Martin knew his weaknesses and strengths; He was at the point where he could not invent anything else. It was decided to resort to the style of all life, without experimenting but with all its charm and with the best possible workmanship. The new adaptation turned out to be magical ( Dino's way of saying " If I had it in my power"is a masterful detail: vibrant, almost a sputter, a sample of the creative flows within the execution). Their overwhelming strength aroused everyone's enthusiasm and Reprise Records (the label founded by Frank Sinatra to which it belonged) decided to release it as a single,
It must be taken into account that for Dean Martin it was a personal matter. Rather than carry out the job, what he was trying to do was stay in the audience. Do not be a mere gallant for grannies. That was why he had worked so hard. The performance made him regain confidence. One morning, as he left the house to go to the studio, he warned his son, who listened to the Beatles : "You'll see, I'll get your friends off the popularity list." And in the end it was. "Everybody Loves Somebody went to # 1 of the charts in the US, ousting the brilliant" A Hard Day's Night "by The Beatles .
Everybody loves somebody sometime
And although my dream was overdue
Your love made it well worth waiting for
For someone like you ...
It was the first number one of Dean Martin The biggest classic of his repertoire.He got it at 47 years old.
Dean Martin en la encrucijada | Columna de Carlos López Medrano
El Triangulo — Julio 6, 2017 0 0    

Mejor dormir

Este texto apareció originalmente en bigmaud.com

Eran los tiempos de la beatleman√≠a durante la primera mitad de los a√Īos sesenta y, aunque casi todo el mundo estaba fascinado con el cuarteto de Liverpool, hab√≠a un pu√Īado de personas que no lo soportaban o que, cuando menos, lo ve√≠an con recelo, displicencia o envidia. El caso m√°s representativo fue el de los crooners estadounidenses, que de pronto se vieron desplazados por esos j√≥venes muchachos que ven√≠an del Reino Unido.  Frank Sinatra y Dean Martin no ve√≠an del todo bien que alguien llegara arrebatarles la atenci√≥n del gran p√ļblico y las mujeres, similar a lo que tambi√©n sinti√≥ Elvis Presley. Casi todos ellos cambiaron de perspectiva con el paso del tiempo. Sinatra cant√≥ canciones de los Beatles, lo mismo que Bing Crosby y Elvis, quienes adem√°s gozaban de la admiraci√≥n de los Fab four.

Dean Martin se cuece aparte. Fue el que m√°s dif√≠cil tuvo aceptar que los tiempos hab√≠an cambiado. La competencia en los sesenta de pronto se vio dominada por gente extravagante de tendencias hippies, lo cual era incomprensible para un tipo chapado a la antigua como √©l, un hijo de inmigrantes italianos que gustaba del cabello corto y dejarse de tonter√≠as (salvo en las noches de copas… casi todas). La animadversi√≥n fue tal que alguna vez en un programa de televisi√≥n enton√≥, junto a otros personajes, un tema medio en broma, medio en serio, en que se escuchaba “I hate the Beatles…“.

En 1964 el panorama era nebuloso para Dean Martin. Parec√≠a que el futuro hab√≠a barrido con tipos de su estirpe. Era imposible escapar de los nuevos fen√≥menos. Ni siquiera su hijo, Dino Jr., lo hac√≠a; para colmo del cantante, en casa ten√≠a a un gran fan de aquellos melenudos. El padre ten√≠a que soportar a diario a ese muchacho que canturreaba “She Loves You” y otras joyas desde su habitaci√≥n o en la cocina. Un simb√≥lico acto de parricidio o un golpe a la vanidad, como cuando la chica de tu inter√©s se ve encandilada por el nuevo alumno de la escuela para olvidarse de ti.

La crisis de Dean Martin se acentuaba por el hecho de que llevaba seis a√Īos sin conseguir un solo hit. El cuadro no invitaba al optimismo. La gente ya buscaba otras cosas. Y √©l ten√≠a casi cincuenta a√Īos. Parec√≠a que su √©poca ya hab√≠a pasado. Era un f√≥sil, alguien que ya no pertenec√≠a. Pero entonces lleg√≥ uno de esos momentos de reivindicaci√≥n que ofrece la vida si uno mantiene el dedo en el rengl√≥n y permanece atento a las oportunidades.

Durante las sesiones de Dream with Dean (1964), el pianista Ken Lane sugiri√≥ a Dean Martin probar una canci√≥n llamada “Everybody Loves Somebody”. Se trataba de una pieza del lejano 1947 que el propio Lane hab√≠a compuesto al lado de Sam Coslow e Irving Taylor. Una tonada agradable de la vieja escuela que sin embargo no hab√≠a tenido mayor trascendencia hasta el momento, pese a que hab√≠a sido interpretada por figuras de la talla de Frank Sinatra y Peggy Lee. No estaba presupuestado que fuera un highlight del disco,  simplemente hab√≠a que buscar algo de relleno para completar las doce canciones requeridas para el proyecto. Y “Everybody Loves Somebody” pod√≠a cumplir con el cometido.  Sin ser una apuesta ambiciosa,  al reloj les faltaba una tuerca y no estaba de m√°s practicar con una reliquia.

La prueba funcion√≥. Una versi√≥n austera en lo instrumental (preciosa, hay que decirlo) de “Everybody Loves Somebody” entr√≥ en el √°lbum. La insistencia de Jeanne Biegger —la esposa de Dean— fue clave para que fuera incluida en el corte final, como se√Īala Javier M√°rquez en el libro Rat Pack. Viviendo a su manera. Fue la primera en enamorarse de la melod√≠a.

No obstante, Dean Martin segu√≠a con una espina clavada. Y esa canci√≥n en particular le segu√≠a atrayendo (lo curioso es que en un principio la vio con escepticismo). Sent√≠a un raro magnetismo hacia ella. Era posible sacarle m√°s jugo, seg√ļn cre√≠a. Si bien su carrera no pasaba por el mejor momento, el orgullo de Dean permanec√≠a vivo, solo requer√≠a dar un golpe de autoridad en la mesa.  Acaso la invasi√≥n brit√°nica, de forma indirecta, contribuy√≥ a sacar lo mejor de √©l y su equipo. El valor de un hombre se puede medir por la reacci√≥n que tiene cuando est√° contra las cuerdas. Y aunque la escena musical parec√≠a relegarlo, el cantante decidi√≥ seguir en combate por un round m√°s.

Fue as√≠ que se decidi√≥ grabar una versi√≥n alternativa de “Everybody Loves Somebody”, esta vez con un poco m√°s de ritmo y con orquesta. Dean Martin conoc√≠a sus debilidades y sus fortalezas; estaba en el punto en el que no pod√≠a inventar nada m√°s. Se decidi√≥ a recurrir al estilo de toda la vida, sin experimentar pero con todo su encanto y con la mejor hechura posible. La nueva adaptaci√≥n result√≥ m√°gica (la manera en que Dino pronuncia If I had it in my power es un detalle maestro: vibrante, casi un farfullo; una muestra de los caudales creativos dentro de la ejecuci√≥n). Su fuerza arrolladora despert√≥ el entusiasmo de todos y Reprise Records (la discogr√°fica fundada por Frank Sinatra a la que pertenec√≠a) decidi√≥ lanzarla como sencillo, adem√°s de incluirla en una recopilaci√≥n de ese mismo a√Īo.

Hay que tomar en cuenta que para Dean Martin era un asunto personal. M√°s que efectuar el oficio, lo que intentaba era seguir vigente entre la audiencia. No ser un mero gal√°n para abuelitas. De ah√≠ que se esmerara tanto. El desempe√Īo le hizo recuperar la confianza. Una ma√Īana, mientras sal√≠a de casa para dirigirse al estudio, le advirti√≥ a su hijo, quien escuchaba a los Beatles: “Ya ver√°s, sacar√© a tus amiguitos de la lista de popularidad”. Y al final as√≠ fue. “Everybody Loves Somebody lleg√≥ al #1 de las listas de √©xitos de Estados Unidos, desbancando a la brillante “A Hard Day’s Night” de The Beatles.

Everybody loves somebody sometime

And although my dream was overdue

Your love made it well worth waiting for

For someone like you…

Fue el primer n√ļmero uno de Dean Martin. El mayor cl√°sico de su repertorio. Lo consigui√≥ a los 47 a√Īos de edad.