The Copa (8 page)

During this engagement, Sinatra's close friend and movie legend Humphrey Bogart passed away, on January 14, 1957. Sinatra, too distraught to sing that evening, asked friends Jerry Lewis and Sammy Davis Jr. to substitute for him. Longtime Sinatra friend Frank Military recalls that evening: “I was with Frank when he was working the Copa and Humphrey Bogart passed away. Frank, myself, and Hank Sanicola, Sinatra's manager, were in the dressing room before the show at the Hotel Fourteen and the phone rang—whoever was on the other end told Frank that Bogart had died. Frank looked at us and said, ‘I can't go on tonight; I can't do a show.' Mind you, the place was jam-packed with all the top people in New York. So then Frank says to me, ‘I know Jerry Lewis is in town, call him and see if he can do the show tonight.' So I called Jerry and told him what was happening and he said he'd be happy to help Frank out. Within thirty minutes, Jerry meets me at the Copa and we tell Doug Coudy to make the announcement. Coudy gets on the PA systems and says, ‘Ladies and Gentlemen, Frank Sinatra will not be appearing tonight but in his place we have Jerry Lewis.' The place went ballistic, they started booing and hollering; they had no idea why Frank couldn't go on. Jerry goes onstage and says into the microphone, ‘Frank, I want to talk to you after the show.' Sammy Davis showed up a little later that evening and performed with Jerry.”

Sinatra's last formal engagement at the Copacabana was in late 1957 and ran into the first days of 1958. As usual, it was a triumph. According to Bill Miller, “Frank loved working the Copacabana, as I did.
The Copa was the ‘top nightclub' in those days…every major singer and comedian was booked there at one time or another. Being in New York with Frank was always exciting and the crowds at the Copa loved him because it was his home turf, so to speak. I think next to Las Vegas and the 500 Club in Atlantic City, the Copa audiences were really Frank's type of people and he always gave them a great show. Jules Podell was a real character, almost like something out of
Guys and Dolls
. Podell was always nice to me and I never heard Frank say a cross word about him; they seemed to get along just fine. Podell was a no-nonsense guy, just like Frank, so they didn't have any problems communicating with one another.”

In November 1960, Sinatra and the Copacabana would briefly make headlines in the New York papers. One headline, in the
Daily News,
read
COPA ON THE CARPET: HOW DID SINATRA SING SANS LICENSE
? The story centered on a probe involving comic/humorist Richard (Lord) Buckley and his New York cabaret card. New York city commissioner Louis Kaplan “announced late yesterday that he will call in the management of the Copacabana night club and demand records and an explanation why Frank Sinatra performed there in 1957 without first obtaining a performer's permit from the NY Police Department's License Bureau. The commissioner said the investigation will go far beyond a checkup on the Citizens Emergency Committee's charge that an effort was made to extort a $100 bribe from Lord Buckley, who sought restoration of his card after it had been revoked because he had concealed an old arrest record for drunkenness and marijuana possession.” The above headlines turned out to be a moot point. Having a New York City Cabaret Identification Card had become a requirement during Prohibition; according to the law, a permit had to be held by all those
who worked in a New York City nightclub. Although “Lord” Buckley passed away soon after his card was seized, the so-called scandal eventually helped dismantle the antiquated system; Commissioner Kennedy left office and the cabaret-card requirement was abolished within a few months.

Frank Sinatra poses with a group of Peter Som's fraternity brothers backstage at the Copa. Som stands next to Sinatra on his left.

Although Frank Sinatra would never appear as a headliner at the Copacabana again, when he was in New York, he would occasionally stop by the club to see other performers and say hello to Jules Podell. My father was also fond of Sinatra, and in November 1965, he placed an ad in
Billboard
magazine, a special issue celebrating Sinatra's fiftieth birthday and twenty-fifth anniversary in the entertainment business, that simply read
CONGRATULATIONS, JULES PODELL
. Podell would also send Sinatra telegrams before his major openings in Las Vegas wishing him the best of luck.

Sammy Davis Jr.

Because of his vast array of talents—singing, dancing, imitations, etc.—Sammy Davis Jr. was the personification of a consummate nightclub headliner. Sammy first played the Copacabana in 1954, as part of the Will Mastin Trio. Sammy had been working with his father and uncle since he was three years old, but he was without question the star of the group. The Will Mastin Trio, especially Sammy, had longed to play the Copa for many years, as they knew it was the top nightclub in the world.

But the first time Sammy Davis ever set foot in the Copacabana was to see Frank Sinatra. Sammy's initial attempt to see Sinatra at the
Copa was not a pleasant one. Podell, like many of that generation, had racist tendencies; at that time it was embedded in the culture and fabric of America. But one man, Frank Sinatra, stood against and fought segregation and racism throughout his life and career. Sammy Davis, until his death, would recount the story of how Sinatra stood firm so his friend could attend his performance at the nightclub. Sinatra had invited Sammy along with drummer Buddy Rich to attend his show. When the doorman saw Sammy in the group, he claimed he could not find their reservation. Sammy and Buddy Rich left in disgust, not wanting to start a commotion. When Sinatra found out about the incident, he was livid. He called Sammy, apologized for the problem, and told him to show up that evening as his guest. Sinatra, true to his character, told Jules Podell and Jack Entratter that Sammy would be his guest and should be treated accordingly. Sinatra also told them both how angry he was and did not want to scream and shout since it could jeopardize his singing voice and that might force him to cancel the engagement. Both Podell and Entratter got Sinatra's message loud and clear. Sinatra, who was at a low point in his career and needed the gig more than the Copacabana needed him, made sure that Sammy was treated with respect and dignity while attending his performance at the Copa, and all else be damned. This was a pivotal moment in the life of Sammy Davis Jr. and also in the life of the Copa. Sinatra was instrumental in breaking the color barrier at the Copa, as he would also be a few years later in Las Vegas.

A flyer advertises an engagement by Sammy Davis Jr. at the Copacabana. Sammy was one of the nicest and most talented performers I have ever met.

inside of flyer

A flyer advertises an engagement by Sammy Davis Jr. at the Copacabana.

Sammy would go on to play the Copa as a headliner both with the Will Mastin Trio and as a solo act. His shows were always one of the highlights of the season. Sammy was one of a handful of superstars who continued to play the Copa up until Jules Podell passed away.

Another flyer, at this time, Sammy Davis Jr. was still a member of the Will Mastin Trio. Sammy, a few years later, would leave the group and venture out as a solo act. Sammy signed the back of this flyer to me.

inside of flyer