Books: The Emerald City Of Oz By L. Frank Baum

1910 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.  

About The Emerald City Of Oz

The Emerald City of Oz is the sixth of L. Frank Baum’s fourteen Land of Oz books.  It was also adapted into a Canadian animated film in 1987.  Originally published on July 20, 1910, it is the story of Dorothy Gale and her Uncle Henry and Aunt Em coming to live in Oz permanently.  While they are toured through the Quadling Country, the Nome King is assembling allies for an invasion of Oz.  This is the first time in the Oz series that Baum made use of double plots for one of the books.

Baum had intended to cease writing Oz stories with this book, but financial pressures prompted him to write and publish The Patchwork Girl of Oz, with seven other Oz books to follow.

The book was dedicated to Her Royal Highness Cynthia II of Syracuse — actually the daughter (born in the previous year, 1909) of the author’s younger brother Henry Clay “Harry” Baum.

Commentary

The Emerald City of Oz contains more material on the social organization of Oz than most of the earlier books, and as a consequence has attracted commentary on its Utopian aspects.  The explicitly socialist economy of Oz has been contrasted to other fantasy projections of socialist societies, like Edward Bellamy’s Looking Backward (1888) and William Morris’s News from Nowhere (1890).  How far such analyses and comparisons should be pursued is, of course, open to debate; as Baum writes of the social structure of Oz in Chapter Three, p. 31, “I do not suppose such an arrangement would be practical with us….”  There are also strong similarities between The Emerald City of Oz (and to a certain extent the other Oz books) and the 1915 feminist utopia Herland (novel) by Charlotte Perkins Gilman.  Today probably best known for The Yellow Wallpaper, Gilman was, like Baum, a newspaper editor who used her publication as a platform for social reform.  The literary connection between Gilman and Baum is thought to be another campaigning newspaper editor, Matilda Joslyn Gage, the women’s rights activist who happened to be the mother of Baum’s wife, Maud Gage Baum.  Sally Roesch Wagner of The Matilda Joslyn Gage Foundation published The Wonderful Mother of Oz describing how Matilda Gage’s feminist politics were sympathetically channelled by her son-in-law into his Oz books.

Gregory Maguire, the author of the revisionist Oz novels Wicked and Son of a Witch, has written that The Emerald City of Oz “is suffused with an elegiac quality” and compares its tone with that of The Last Battle, the final volume of C. S. Lewis’ Chronicles of Narnia.

The Forbidden Fountain that Baum introduces in this book recurs in ensuing Oz books, by him and by his various successors.  The Fountain is an important feature in The Magic of Oz (1919), The Forbidden Fountain of Oz (1980), The Wicked Witch of Oz (1993), and Paradox in Oz (1999).

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

At the beginning of this story, it is made quite clear that Dorothy Gale (the primary protagonist of many of the previous Oz books), is in the habit of freely speaking of her many adventures in the Land of Oz to her only living relatives, her Aunt Em and Uncle Henry.  Neither of them believes a word of her stories, but consider her a dreamer, as her dead mother had been.  She is undeterred.

Later, it is revealed that the destruction of their farmhouse by the tornado back in The Wonderful Wizard of Oz has left Uncle Henry in terrible debt.  In order to pay it, he has taken out a mortgage on his farm.  If he cannot repay his creditors, they will seize the farm, thus leaving Henry and his family homeless.  He is not too afraid for himself, but both he and his wife, Aunt Em, fear very much for their niece’s future.  Upon learning this, Dorothy quickly arranges with Princess Ozma to let her bring her guardians to Oz where they will be happier and forever safe.  Using the Magic Belt (a tool captured from the jealous Nome King Roquat), Ozma transports them to her throne room.  They are given rooms to live in and luxuries to enjoy, including a vast and complex wardrobe, and meet with many of Dorothy’s old friends, including the Cowardly Lion and Billina the Yellow Hen.

In the underground Nome Kingdom, the Nome King Roquat is plotting to conquer the Land of Oz and recover his magic belt, which Dorothy took from him in Ozma of Oz.  General Blug suggested that King Roquat have their forces dig a tunnel under the Deadly Desert.  After ordering the expulsion of General Blug (who will not agree to such an attack due to the powers of Princess Ozma) and the death of Colonel (who also refuses) where he was sliced thin in a torture chamber and fed to a bunch of Seven-Headed Dogs, King Roquat holds counsel with a veteran soldier called Guph.  Guph believes that against the many magicians of Oz (the reputation of which has grown in the telling), the Nome Army has no chance alone. He, therefore, sets out personally to recruit allies from other parts of Nonestica.

Dorothy, accompanied by the Wizard of Oz and several other friends, departs the Emerald City in a carriage drawn by the Wooden Sawhorse, intending to give her aunt and uncle a tour of the land.  Many of the people encountered have never been seen in other books:

The living cut-out paper dolls created by an immortal called Miss Cuttenclip.

The anthropomorphic jigsaw puzzles known as the Fuddles.

The loquacious Rigmaroles.

The paranoid Flutterbudgets.

The living kitchen utensils of Utensia.

The anthropomorphic pastries of Bunbury.

The civilized rabbits of Bunnybury.

A zebra who holds geographical disputes with a soft-shell crab.

Other figures, more familiar to readers of previous books, include the Tin Woodman and the Scarecrow, as well as the four tribes of Oz (the Munchkins, the Quadlings, the Gillikins, and the Winkies).

The Nome General Guph visits three nations:

The Whimsies are a large and hulking race but possess disproportionately small heads the size of doorknobs.  This causes other species to call them stupid, stripping them of any self-esteem.  To deny this, the Whimsies wear enormous, luridly designed masks that cover all of their heads.  Their Chief agrees to the deal and sends Guph on his way.  The Chief of the Whimsies hopes that when the Nome King reclaims his Magic Belt, he can use its magic to make their heads the size of the masks they wear.

The Growleywogs are muscular giants, possessing no surplus flesh and no mercy.  They are arrogant and cruel. Their Grand Gallipoot agrees to the deal in exchange that they grant them 20,000 slaves from the Land of Oz.  As such, they are eager not only to help the Nomes conquer Oz but also to secretly subjugate the Nomes as well.  Of the latter plan, they say nothing and send Guph on his way.

Last of his meetings is that which is with the mysterious, diabolical Phanfasms of Phantastico.  To Guph, the Phanfasms resemble hairy men but have the heads of various carnivorous mammals, birds, and reptiles. Their true forms, number, standard of living, culture, and extent of influence remain unknown to both Guph and the reader, although both receive hints in the narrative.  The first Phanfasm that Guph encountered was one with the head of an owl after getting past the scarlet alligator on the bridge.  Their bear-headed leader called the First and Foremost agrees to the deal so that they can make people unhappy.  The Phanfasms tell him that they will conquer Oz alongside the other armies, but they have a secret plan to turn traitor and dominate their allies.  Of the latter plan, they say nothing and send Guph on his way.

Having learned of this through Ozma’s omniscient Magic Picture, the people of Oz become worried.  As the Nomes dig a tunnel for the combined armies to get under the Deadly Desert to the heart of the Emerald City, Ozma uses her Magic Belt to wish for a large amount of dust to appear in the tunnel.  Upon emerging, the Nome King’s allies, therefore, drink thirstily from the nearby Fountain of Oblivion, whose waters make them forget their evil plans.  The Nome King himself avoids the drink but is thrown into the fountain by the Scarecrow and the Tin Woodman, which erases his memory too.

Ozma uses the Magic Belt to send the Nome King and his allies back to their respective lands.  To forestall a future invasion of Oz, Glinda the Good Witch uses a magic charm to render Oz invisible and unreachable to everyone except those within the land itself.

Read more about The Emerald City Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.   

Blog Posts

Notes And Links

The 1910 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: The Road To Oz By L. Frank Baum

1909 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.  

About The Road To Oz

The Road to Oz is the fifth of L. Frank Baum’s Land of Oz books.  It was originally published on July 10, 1909 and documents the adventures of Dorothy Gale’s fourth visit to the Land of Oz.

The book was dedicated to Joslyn Stanton Baum, the author’s first grandson, the child of Baum’s eldest son Frank Joslyn Baum.

Publication

The sales figures of Baum’s other fantasy novels always lagged behind his Oz novels; it has therefore been theorized that the guest appearances of his non-Oz characters in The Road to Oz were a marketing ploy to raise interest in those other titles.

This is the only Oz book to be printed on coloured pages instead of with coloured pictures.  The coloured pages represent the signature colours of the various countries of Oz that Dorothy and her companions travel through on their way to the Emerald City.

The Tin Woodman’s garden features images of Dorothy and Toto, representing them as they first arrived in Oz.  The illustrator, John R. Neill, apparently takes this description literally, by causing the statues to resemble the illustrations made by his predecessor, W.W. Denslow.  This is in contrast to the “real” Dorothy, who is drawn here much as she is drawn in all of the Oz books illustrated by Neill.  It is implied that she is amused by the differences present; she has apparently lost weight, as well as changed her attire.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

While Dorothy Gale is at home in Kansas one day, she and her pet dog Toto meet the Shaggy Man who comes walking past the Gale farm.  He is a friendly, yet slightly senile hobo with an optimistic, carefree mentality.  He politely asks Dorothy for directions to Butterfield, which is the nearest town on the prairie.  The girl agrees to show him the way, bringing her dog with her.  Further on, the road splits into seven paths.  They take the seventh one and soon find themselves lost in what appears to be another dimension.  The trio meets Button-Bright, a cute and wealthy little boy in a sailor’s outfit who is always getting lost.  Later, the companions encounter Polychrome, the beautiful and ethereal Daughter of the Rainbow who is stranded on earth.  Polychrome explains that she accidentally fell off her father’s bow while dancing on it.  The bow ascended into the atmosphere and back into the clouds before she was able to climb her way back on it, thus being left behind.

Dorothy, Toto, the Shaggy Man, Button-Bright, and Polychrome eventually come to the peculiar town of Foxville, where anthropomorphic foxes live.  With prompting from King Dox of Foxville, Dorothy deduces that she and Toto are obviously on another fairy adventure that will ultimately lead them to the magical Land of Oz, just in time for Princess Ozma’s royal birthday party (which is now acknowledged as August 21 by Oz fans, even though the book only refers to the 21st of the month, Dorothy having mentioned that the current month is August in another passage).  The king takes a particular liking to Button-Bright, whom he considers astute and clever due to his tabula rasa-like mind.  Believing that the human face does not suit one so clever, Dox gives him a fox’s head which he is unable to remove.  A similar event subsequently happens to the Shaggy Man, when King Kik-a-Bray of Dunkiton confers a donkey’s head upon him — also in reward for cleverness, even though it is implied that Foxville and Dunkiton exist at odds with one another.  Though both of them ask Dorothy to procure them invitations to Princess Ozma’s birthday party.

After meeting the Musicker, who produces music from his breath, and fighting off the Scoodlers, who fight by removing their own heads and throwing them at the travellers, Dorothy and her companions reach the edge of the fatal Deadly Desert completely surrounding Oz.  There, the Shaggy Man’s friend Johnny Dooit builds a sand-boat by which they may cross.  This is necessary, because physical contact with the desert’s sands, as of this book and Ozma of Oz (1907), will turn the travellers to dust.

Upon reaching Oz, Dorothy and her companions are warmly welcomed by the mechanical man Tik-Tok and Billina the Yellow Hen.  They proceed in the company to come in their travels to the Truth Pond where Button-Bright and the Shaggy Man regain their true heads by bathing in its waters.  They meet the Tin Woodman, the Scarecrow, and Jack Pumpkinhead who journey with them to the imperial capital called Emerald City for Ozma’s grand birthday bash.  Dorothy meets up with Ozma as her chariot is pulled in by the Cowardly Lion and the Hungry Tiger.

As preparations for Ozma’s birthday party are made, the guests include Dorothy, Scarecrow, Tin Woodman, Cowardly Lion, the Wizard of Oz, Jack Pumpkinhead, the Sawhorse, Tik-Tok, Billina, Jellia Jamb, Woggle-Bug, Hungry Tiger, the Good Witch of the North, Shaggy Man, Button-Bright, Polychrome, and characters from all over Nonestica (such as Santa Claus, a band of Ryls, and a bunch of Knooks from the Forest of Burzee, Queen Zixi of Ix, the Queen of Merryland, four wooden soldiers, and the Candy Man from Merryland, the Braided Man from Boboland’s Pyramid Mountain, the Queen of Ev, King Evoldo, and his nine siblings from the Land of Ev, King Bud and Princess Fluff from Noland, and John Dough, Chick the Cherub, and Para Bruin the Rubber Bear from Hiland and Loland) as well as invitations to King Dox, King Kik-a-Bray, and Johnny Dooit.  Though Princess Ozma couldn’t procure an invitation to the Musicker due to a chance that his uncontrollable vocal tic might arouse violence against him.  The Shaggy Man receives permission to stay in Oz permanently.  He is given, in addition to this, a new suit of clothes having bobtails in place of his former costume’s ragged edges, so that he may retain his name and identity.

After everyone has presented their gifts and feasted at a lavish banquet in Ozma’s honour, the Wizard of Oz demonstrates a method of using bubbles as transportation by which to send everyone home.  Polychrome is finally found by her rainbow family and she is magically lifted into the sky when she climbs back onto her bow.  Button-Bright goes home with Santa Claus in a soap bubble with the Sawhorse loaned to Santa Claus. Dorothy and Toto are finally wished back home to Kansas again by Ozma’s use of the Magic Belt.

Read more about The Road To Oz here.

The above articles were sourced from Wikipedia and are subject to change.   

Blog Posts

Notes And Links

The 1909 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: Dorothy And The Wizard In Oz By L. Frank Baum

1908 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here

About Dorothy And The Wizard In Oz

Dorothy and the Wizard in Oz is the fourth book set in the Land of Oz written by L. Frank Baum and illustrated by John R. Neill.  It was published on June 18, 1908, and reunites Dorothy Gale with the humbug Wizard from The Wonderful Wizard of Oz (1900).  This is one of only two of the original fourteen Oz books (the other being The Emerald City of Oz (1910), to be illustrated with watercolour paintings.

Baum, having resigned himself to writing a series of Oz books, set up elements of this book in the prior Ozma of Oz (1907).  He was not entirely pleased with this, as the introduction to Dorothy and the Wizard of Oz opens with the protest that he knows many tales of many lands, and hoped that children would permit him to tell them those tales.

Written shortly after the 1906 San Francisco earthquake and around the time Baum moved to California, the book starts with an earthquake in California.  Dorothy and others are swallowed up by cracks in the earth and fall into a cavern, where they begin their adventures.

Very little of the story—six of the twenty chapters—actually takes place in Oz.  As in Ozma of Oz before it, and in some of the books after, Oz is not the land where the adventures take place, but the land the characters are seeking as a refuge from adventure.

The book was dedicated to Harriet Alvena Baum Neal, the author’s eldest sister.

Publication

Four years passed between the first and second Oz books (1900-4), and three between the second and third (1904-7).  By 1907, however, it was clear to Baum and to his publisher, Reilly & Britton, that the Oz books were more popular and sold better than any of Baum’s other works.  After 1907’s Ozma of Oz, Baum devoted more of his energies to Oz.  A 1906 contract between Baum and his publisher called for new Oz books at two-year intervals between 1907 and 1911.

In fact, Baum accelerated this schedule, producing Dorothy and the Wizard in Oz only a year after the previous book.  The effect of this effort on the quality of the resulting work can only be a matter of speculation, but commentators have noted that this fourth Oz book is darker and more troubling than usual.  In it, Baum violates his own standard of leaving out most elements that can disturb or frighten children.  In the first two-thirds of the book, Dorothy and her friends barely escape from an unrelenting succession of threatening magical countries.  In the company of the Wizard, Dorothy is a helpless little girl, given no opportunity to show her resourcefulness.  When Oz is finally reached, it is a bland goody-goody place with few positive events to offer.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

Dorothy Gale is gladly joining her Uncle Henry in California to visit relatives who live at Hugson’s Ranch, after their vacation from Australia in Ozma of Oz.  Dorothy meets Hugson’s nephew who is her second cousin, Zeb of Hugson’s Ranch.  Dorothy, Eureka (her cat) and Zeb are riding a buggy being pulled by a cab-horse named Jim when a violent earthquake strikes.  A crevice opens in the ground beneath them and they fall deep into the Earth.

Dorothy, Eureka, Jim, Zeb, and the buggy land in the underground Land of the Mangaboos, a race of vegetable people who grow on vines.  The Mangaboos accuse them of causing the earthquake, which has damaged many of their glass buildings.  Just as they are about to be sentenced to death by the Mangaboos, a hot air balloon randomly descends, and in the basket is the former Wizard of Oz, whom Dorothy last saw as he floated away into the sky from the Emerald City at the end of the earlier book The Wizard of Oz.

The Wizard demonstrates his (humbug) magic powers, first, by “conjuring” nine tiny, mouse-sized piglets (actually taking them from his pocket by sleight-of-hand), and then, by lighting a fire, which is a phenomenon unknown to the Mangaboos.  Impressed, the Mangaboo prince gives him a temporary job as a court wizard, but the death sentence is only postponed until a new, native Mangaboo wizard grows ripe enough to serve.  Eureka asks for permission to eat one of the piglets, but the Wizard angrily refuses to allow this.  The Mangaboo people eventually drive the travellers out of their country into a dark tunnel, which leads to another kingdom.

They pass through the tunnel into a beautiful green valley.  They enter a seemingly empty cottage and are welcomed by invisible people, for they have entered the Valley of Voe, whose inhabitants are able to remain invisible by eating a magic fruit and use their invisibility to hide from marauding bears.  In order to avoid being eaten by the bears, the travellers move on.

The companions climb Pyramid Mountain, and meet the Braided Man, a manufacturer of holes, flutters (guaranteed to make any flag flutter on a windless day), and rustles for silk dresses.  After exchanging gifts with him, the travellers continue upwards into the Land of the Gargoyles, which are hostile, silent, flying monsters made of wood.  The travellers are able, at first, to repel their attack successfully because the Gargoyles are frightened by loud noises.  However, the travellers are soon out of breath and unable to make more noise, so the Gargoyles capture them.  After recuperating from the fight, the travellers manage to escape and enter another tunnel.

After a close encounter with a family of baby dragons, they find themselves trapped in a cave with no exit.  The Wizard, Zeb, and the animals all fear that they will die of thirst, but Dorothy reveals that she has an arrangement with Princess Ozma: each day at four o’clock, Ozma uses her magic picture to see what Dorothy is doing, and if Dorothy gives a certain visual hand-signal, Ozma will use her magic belt to transport Dorothy out of danger to the Emerald City.  In this way, the travellers are rescued.

Soon after renewing his acquaintance with the Emerald City staff and making the acquaintance of Ozma and her courtiers, the Wizard elects to remain in Oz permanently, planning to learn real magic from Glinda the good witch.  He demonstrates his piglet-trick in a magic show and gives one of the piglets to Ozma as a pet.  The others stay for an extended visit, whose highlights include a race between the wooden Saw-Horse and Jim, which the Sawhorse wins.  Eureka is accused of eating Ozma’s pet piglet.  In fact, Eureka is innocent and the piglet is alive and well, but the obstinate Eureka enjoys being the centre of the court’s attention and does not try to prove her innocence until the trial is over.  After the piglet is returned to Ozma, and Zeb and Jim decide they’ve had enough of fairyland, Ozma then uses the Magic Belt to send Dorothy and Eureka back to Kansas, and Zeb and Jim back to California.

Read more about The Dorothy And The Wizard in Oz here.

The above articles were sourced from Wikipedia and are subject to change.

Blog Posts

Notes And Links

The 1908 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz. 

Books: Ozma Of Oz By L. Frank Baum

1907 first edition front cover image © John. R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here

About The Ozma Of Oz 

Ozma of Oz, published on July 30, 1907, was the official third book of L. Frank Baum’s Oz series.  It was the first in which Baum was clearly intending a series of Oz books.

It is the first Oz book where the majority of the action takes place outside of the Land of Oz.  Only the final two chapters take place in Oz itself.  This reflects a subtle change in theme: in the first book, Oz is the dangerous land through which Dorothy must win her way back to Kansas; in the third, Oz is the end and aim of the book.  Dorothy’s desire to return home is not as desperate as in the first book, and it is her uncle’s need for her rather than hers for him that makes her return.

The book was illustrated throughout in colour by artist John R. Neill.  It bore the following dedication: “To all the boys and girls who read my stories – and especially to the Dorothys – this book is lovingly dedicated.”

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

On an ocean voyage with her uncle Henry to Australia, Dorothy is blown into the sea by a storm.  She takes refuge on a floating chicken-coop, which washes ashore, along with the coop and a hen in it.  The hen is able to speak; Dorothy gives it the name Billina.  Exploring the land, Dorothy and Billina are menaced by a tribe of brightly dressed “Wheelers”, who have wheels instead of hands and feet.  They also find a clockwork man named Tik-Tok (one of the first intelligent humanoid automatons in literature), who joins them.

Tik-Tok informs Dorothy and Billina that they are in the Land of Ev, which currently has no competent ruler, its king having committed suicide after selling his family to the Nome King.  The three visit the castle of Princess Langwidere, who has many exchangeable, detachable heads.  When Dorothy refuses to let Langwidere take her head and add it to her collection, Langwidere has a tantrum and locks Dorothy in a high tower within the palace.

Luckily, Princess Ozma and her Royal Court of Oz (many of whom appeared in the two previous Oz books) just happen to cross over the Deadly Desert on a mission to free the royal family from the Nome King.  Upon arriving, Ozma takes charge and has Dorothy, Billina and Tik-Tok released from Langwidere’s custody.  The three join Ozma’s expedition to the Kingdom of the Nomes.

When they arrive, the Nome King reveals that he has magically transformed the royal family into decor ornaments.  When Ozma asks him to release them, he offers a bargain: the Oz people may enter his chambers and try to guess which of the Nome King’s many ornaments they are, but if they fail to guess correctly, they will also become ornaments themselves.  Ozma, the twenty-seven soldiers of the Royal Army of Oz, including the Scarecrow, the Tin Woodman, and Tik-Tok, all suffer this bizarre fate.  Dorothy luckily selects one ornament which turns out to be one of the royal family’s young princes.

That night, Billina overhears the Nome King discussing his transformations with another Nome, and learns how to recognize, by colour, which ornaments are transformed people.  She also learns that the King’s magic powers come from the Magic Belt that he wears.  She is, therefore, able to free all the transformations.  By exploiting the Nomes’ fear of eggs, the Oz people are able to capture the magic belt and escape the Nome Kingdom with the royal family of Ev.

After returning the royal family of Ev to their throne, Ozma, Dorothy, and the others finally return to the country of Oz where a great victory celebration is held in the Emerald City’s royal palace.  Dorothy is officially made a Princess of Oz, Billina elects to remain in Oz, and Ozma uses the magic belt to send Dorothy to Kansas where she is happily reunited with her Uncle Henry.

Adaptations

L. Frank Baum revisited this story for the plot of his 1913 musical The Tik-Tok Man of Oz, starring James C. Morton and Fred Woodward.  Aside from Tik-Tok, a princess named Ozma, and a visit to the Nome King’s domain, the similarities between the book and the finished play was minimal, allowing Baum to re-adapt the latter as the eighth Oz book, Tik-Tok of Oz, in 1914.

A theatrical adaptation called Ozma of Oz: A Tale of Time, written by Susan Zeder with music by Richard Gray premiered at the Poncho Theatre in Seattle, Washington, in 1979.  On its 20th anniversary in 1999, it was revived with the addition of further songs and titled, Time Again in Oz.

Elements from Ozma of Oz and the previous novel, The Marvelous Land of Oz, were incorporated into the 1985 film Return to Oz, featuring Fairuza Balk as Dorothy.  Although most of the plot was taken from Ozma, the action was chiefly relocated to the derelict Emerald City, ruled by Princess Mombi (Princess Langwidere in all but name, as well as keeping Ozma as her slave) and her Wheelers.  In the second half of the film, Dorothy, Billina, Tik-Tok, Jack Pumpkinhead, and the Gump travelled to the Nome King’s mountain, to rescue the Scarecrow from the King’s ornament collection, which was emerald green, unlike the book’s royal purple.  Drawn from the 1939 film The Wizard of Oz’s famous ruby slippers were used in place of the magic belt.

Read more about Adaptions and Ozma Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.

Blog Posts

Notes And Links

The 1907 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz. 

Books: The Marvelous Land Of Oz By L. Frank Baum

1904 first edition front cover image © John R. Neill and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.   

About The Marvelous Land Of Oz 

The Marvelous Land of Oz, published in July 1904, is the second of L. Frank Baum’s books set in the Land of Oz, and the sequel to The Wonderful Wizard of Oz (1900).  This and the next 34 Oz books of the famous 40 were illustrated by John R. Neill.  The book was made into an episode of The Shirley Temple Show in 1960, and into a Canada/Japan co-produced animated series of the same name in 1986.  It was also adapted in comic book form by Marvel Comics; once in 1975 in the Marvel Treasury of Oz series, and again in an eight-issue series with the first issue being released in November 2009.  Plot elements from The Marvelous Land of Oz are included in the 1985 Disney feature film Return to Oz.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

The events are set shortly after the events in The Wonderful Wizard of Oz and after Dorothy Gale’s departure back to Kansas.  The protagonist of the novel is an orphan boy called Tip.  For as long as he can remember, Tip has been under the guardianship of a cruel Wicked Witch named Mombi and lives in the northern quadrant of Oz called Gillikin Country.  Mombi has always been extremely mean and abusive to Tip.  As Mombi is returning home one day, Tip plans to get revenge and frighten her with a wooden man he has made, with a large Jack-o’-lantern he carves for a head, thus naming him Jack Pumpkinhead.  To Tip’s dismay, Mombi is not fooled by this trick, and she takes this opportunity to demonstrate the new magical Powder of Life that she had just obtained from another sorcerer.  Mombi tells Tip that she intends to transform him into a marble statue to punish him for his mischievous ways.

In order to avoid being turned into a marble statue, Tip runs away with Jack that very same night and steals the Powder of Life.  He uses it to animate the wooden Sawhorse for Jack to ride.  The Sawhorse runs so quickly that Tip is left behind.  Walking alone, he meets General Jinjur’s all-girl Army of Revolt, which is planning to overthrow the Scarecrow (who has ruled the Emerald City since the end of The Wonderful Wizard of Oz).  Meanwhile, Jack and the Sawhorse arrive at the Emerald City and make the acquaintance of His Majesty the Scarecrow.  Jinjur and her crew invade the Emerald City, terrorize the citizens, and loot the city, causing great havoc and chaos.  Tip joins Jack and the Scarecrow in the palace, and they escape on the Sawhorse’s back.

The companions arrive at the tin castle of the Tin Woodman (who now rules the Winkie Kingdom following the Wicked Witch of the West’s demise in the first book) and plan to retake the Emerald City with his help.  On their way back, they are diverted by the magic of Mombi (whom Jinjur recruited to help her apprehend them).  They are joined by the “Highly Magnified and Thoroughly Educated” Woggle-Bug and aided by the loyal field mice and their Mouse Queen.  The Queen of the field mice allows the Scarecrow to take twelve mice concealed in his straw.  When the party reaches the Emerald City, Jinjur and her soldiers imprison the group and lock them away.  However, the female soldiers are scared by the field mice and leave the city’s palace.  However, they still occupy the grounds of the city, and the palace is surrounded.  The travellers are imprisoned in the palace.  The Scarecrow proposes manufacturing a clever flying machine with a Gump’s stuffed head to direct it.  Tip uses the powder of life to animate this machine, which is assembled from the palace furniture, and they fly off, with no control over their direction, out of Oz.  They land in a nest of jackdaws, which is full of all of the birds’ stolen goods.  The flying Gump’s wings are damaged in the landing.

The jackdaws return to their nest and attack the travellers, carrying off the Scarecrow’s straw.  The nest contains a large amount of paper money, with which the Scarecrow can be re-stuffed.  Using Wishing Pills they discover in the container holding the Powder of Life, Tip and his friends escape and journey to the palace of Glinda the Good Witch in Oz’s southern quadrant, the Quadling Country.  They learn from Glinda that after the fall of Oz’s mortal king Pastoria decades ago, a long lost princess named Ozma was hidden away in secrecy when the Wizard of Oz took the throne.  She also informs them that Ozma is the rightful ruler of the Emerald City and all of Oz in general, not the Scarecrow (who did not really want the job anyway).  Glinda, therefore, accompanies Tip, Jack, the Sawhorse, the Scarecrow, the Tin Woodman, the Wogglebug, and the Gump back to the Emerald City to see Mombi.  The crooked woman tries to deceive them by disguising a chambermaid named Jellia Jamb as herself (which fails) but manages to elude them as they search for her in the Emerald City.  Just as their time runs out, the Tin Woodman plucks a rose to wear in his lapel, unaware that this is the transformed Mombi.

Glinda discovers the deception right away and leads the pursuit of Mombi, who is finally caught as she tries to cross the Deadly Desert in the form of a fast and long-running griffin.  Under pressure from Glinda, Mombi confesses that the Wizard brought her the infant Ozma, whom she transformed into … the boy Tip.  At first, Tip is utterly shocked and appalled to learn this, but Glinda and his friends help him to accept his duty, and Mombi performs her last spell to undo the curse, turning him back into the fairy princess Ozma.

The restored Ozma is established on the throne after defeating Jinjur and her army. The Tin Woodman invites the Scarecrow to return with him to the Winkie Country along with Jack Pumpkinhead.  The Gump is disassembled at his request (though his head was a hunting trophy that can still speak), Glinda returns to her palace in Quadling Country, the Wogglebug remains as Ozma’s advisor, and the Sawhorse becomes Ozma’s personal steed.  The forgotten prophecy is finally fulfilled and Oz is politically whole once more, with Ozma in her rightful position as the child Queen of Oz.

Stage Elements

The Wonderful Wizard of Oz had been transformed into a stage play, and several elements of the sequel book were clearly incorporated with an eye to it also being adapted for the stage.  The Marvelous Land of Oz was dedicated to David C. Montgomery and Fred Stone, the comedians “whose clever personations of the Tin Woodman and the Scarecrow have delighted thousands of children throughout the land…” in the 1902 stage adaptation of the first Oz book.  Following the Tin Woodman’s and the Scarecrow’s importance to the play, similar importance is given them this work, where neither Dorothy nor the Cowardly Lion appears.

The Marvelous Land of Oz was also influenced by the story and vaudevillian tone of the stage play.  The character of the Wizard was in the book a good man though a bad wizard but in the play, the villain of the piece; this is reflected by the evil part he is described as having played in the back story of this work.  The two armies of women, both Jinjur’s and Glinda’s, were so clearly intended as future chorus girls that even reviews of the book noted the similarity.

It has been suggested that the twist of Tip being the Princess Ozma also reflects stage traditions, as Tip would have likely have been played by a woman in drag.

Dramatic Adaptations

One early reviewer of The Marvelous Land of Oz noted that some details in the book clearly appeared to be designed for a stage production—in particular, “General Jinjur and her soldiers are only shapely chorus girls.”  Since the stage adaptation of The Wonderful Wizard of Oz had been a huge hit, with two companies still touring the country as the second book was published, the reviewer’s suspicion was both natural and accurate: Baum wrote a stage adaptation called The Woggle-Bug that was produced in Chicago the summer of 1905.  The detail of Tip/Ozma’s sex change, which can raise a range of psychological speculations in modern readers, made perfect sense in terms of early twentieth-century stage practice, since the juvenile male role of Tip would have been played by an actress as a matter of course.  The musical score was composed by Frederic Chapin, and Fred Mace played the Woggle-Bug.  Baum had wanted Fred Stone and David Montgomery to reprise their roles as the Scarecrow and Tin Woodman for the second show, but the two refused, fearing typecasting, and the characters were omitted completely from the play. The play was not successful.

In addition to being part of the basis for Baum’s The Fairylogue and Radio-Plays, Land of Oz was the final 1910 Selig Polyscope Oz film, and has been brought to the screen several additional times.  The Land of Oz, a Sequel to the Wizard of Oz was a two-reel production by the Meglin Kiddies made in 1931 and released in 1932.  The film was recently recovered, but the soundtrack of the second reel is missing.  The Wonderful Land of Oz (1969) was a studio-bound production by independent filmmaker Barry Mahon, which starred his son, Channy, as Tip.  Mahon had previously produced nudie films; however, those films were made in New York, while Oz was made in Florida, and neither Caroline Berner (as Jinjur) nor the rest of her army were drawn from his former casts.  Filmation’s Journey Back to Oz (1971), recast the army of revolt with green elephants and Tip with Dorothy but was essentially an unaccredited adaptation of this book.  Elements from this novel and the following one, Ozma of Oz, were incorporated into the 1985 film Return to Oz featuring Fairuza Balk as Dorothy.  It is also adapted in Ozu no Mahōtsukai and the Russian animated film, Adventures of the Emerald City: Princess Ozma (2000).

Read more about Dramatic Adaptions and The Marvelous Land Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.

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Notes And Links

The 1904 first edition front cover image shown at the top of this page is © John R. Neill and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: The Wonderful Wizard Of Oz By L. Frank Baum

1900 first edition front cover image is © W. W. Denslow and is in the Public Domain via Wikipedia

You can download this book and the thirteen other fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here

About The Wonderful Wizard Of Oz 

The Wonderful Wizard of Oz is an American children’s novel written by author L. Frank Baum and illustrated by W. W. Denslow.  The first novel in the Oz series, the story chronicles the adventures of a young Kansas farm girl named Dorothy in the magical Land of Oz after she and her pet dog Toto are swept away from their home by a tornado.  Upon her arrival in Oz, she learns she cannot return home until she has destroyed the Wicked Witch of the West.

The book was first published in the United States in May 1900 by the George M. Hill Company.  In January 1901, the publishing company completed printing the first edition, a total of 10,000 copies, which quickly sold out.  It had sold three million copies by the time it entered the public domain in 1956.  It was often reprinted under the title The Wizard of Oz, which is the title of the successful 1902 Broadway musical adaptation as well as the classic 1939 live-action film.

The ground-breaking success of both the original 1900 novel and the 1902 Broadway musical prompted Baum to write thirteen additional Oz books which serve as official sequels to the first story.  Over a century later, the book is one of the best-known stories in American literature, and the Library of Congress has declared the work to be “America’s greatest and best-loved homegrown fairytale.”

Publication

L. Frank Baum’s story was published by George M. Hill Company.  The first edition had a printing of 10,000 copies and was sold in advance of the publication date of September 1, 1900.  On May 17, 1900, the first copy came off the press; Baum assembled it by hand and presented it to his sister, Mary Louise Baum Brewster.  The public saw it for the first time at a book fair at the Palmer House in Chicago, July 5–20. Its copyright was registered on August 1; full distribution followed in September.  By October 1900, it had already sold out and the second edition of 15,000 copies was nearly depleted.

In a letter to his brother, Baum wrote that the book’s publisher, George M. Hill, predicted a sale of about 250,000 copies.  In spite of this favourable conjecture, Hill did not initially predict that the book would be phenomenally successful.  He agreed to publish the book only when the manager of the Chicago Grand Opera House, Fred R. Hamlin, committed to making it into a musical stage play to publicize the novel.

The play The Wizard of Oz debuted on June 16, 1902.  It was revised to suit adult preferences and was crafted as a “musical extravaganza,” with the costumes modelled after Denslow’s drawings.  When Hill’s publishing company became bankrupt in 1901, the Indianapolis-based Bobbs-Merrill Company resumed publishing the novel.  By 1938, more than one million copies of the book had been printed.  By 1956, sales had grown to three million copies.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

Dorothy is a young girl who lives with her Aunt Em, Uncle Henry, and dog, Toto, on a farm on the Kansas prairie.  One day, she and Toto are caught up in a cyclone that deposits them and the farmhouse into Munchkin Country in the magical Land of Oz.  The falling house has killed the Wicked Witch of the East, the evil ruler of the Munchkins.  The Good Witch of the North arrives with three grateful Munchkins and gives Dorothy the magical silver shoes that once belonged to the Wicked Witch.  The Good Witch tells Dorothy that the only way she can return home is to follow the yellow brick road to the Emerald City and ask the great and powerful Wizard of Oz to help her.  As Dorothy embarks on her journey, the Good Witch of the North kisses her on the forehead, giving her magical protection from harm.

On her way down the yellow brick road, Dorothy attends a banquet held by a Munchkin named Boq.  The next day, she frees a Scarecrow from the pole on which he is hanging, applies oil from a can to the rusted joints of a Tin Woodman, and meets a Cowardly Lion.  The Scarecrow wants a brain, the Tin Woodman wants a heart, and the Lion wants courage, so Dorothy encourages them to journey with her and Toto to the Emerald City to ask for help from the Wizard.

After several adventures, the travellers arrive at the Emerald City and meet the Guardian of the Gates, who asks them to wear green-tinted spectacles to keep their eyes from being blinded by the city’s brilliance.  Each one is called to see the Wizard.  He appears to Dorothy as a giant head, to the Scarecrow as a lovely lady, to the Tin Woodman as a terrible beast, and to the Lion as a ball of fire.  He agrees to help them all if they kill the Wicked Witch of the West, who rules over Winkie Country.  The Guardian warns them that no one has ever managed to defeat the witch.

The Wicked Witch of the West sees the travellers approaching with her one telescopic eye.  She sends a pack of wolves to tear them to pieces, but the Tin Woodman kills them with his axe.  She sends a flock of wild crows to peck their eyes out, but the Scarecrow kills them by twisting their necks.  She summons a swarm of black bees to sting them, but they are killed while trying to sting the Tin Woodman while the Scarecrow’s straw hides the others.  She sends a dozen of her Winkie slaves to attack them, but the Lion stands firm to repel them.  Finally, she uses the power of her Golden Cap to send the Winged Monkeys to capture Dorothy, Toto, and the Lion, unstuff the Scarecrow, and dent the Tin Woodman.  Dorothy is forced to become the witch’s personal slave, while the witch schemes to steal her silver shoes.

The witch successfully tricks Dorothy out of one of her silver shoes.  Angered, she throws a bucket of water at the witch and is shocked to see her melt away.  The Winkies rejoice at being freed from her tyranny and help restuff the Scarecrow and mend the Tin Woodman.  They ask the Tin Woodman to become their ruler, which he agrees to do after helping Dorothy return to Kansas.  Dorothy finds the witch’s Golden Cap and summons the Winged Monkeys to carry her and her friends back to the Emerald City.  The King of the Winged Monkeys tells how he and his band are bound by an enchantment to the cap by the sorceress Gayelette from the North, and that Dorothy may use it to summon them two more times.

When Dorothy and her friends meet the Wizard again, Toto tips over a screen in a corner of the throne room that reveals the Wizard, who sadly explains he is a humbug—an ordinary old man who, by a hot air balloon, came to Oz long ago from Omaha.  He provides the Scarecrow with a head full of bran, pins, and needles (“a lot of bran-new brains”), the Tin Woodman with a silk heart stuffed with sawdust, and the Lion a potion of courage.  Their faith in his power gives these items a focus for their desires.  He decides to take Dorothy and Toto home and then go back to Omaha in his balloon.  At the send-off, he appoints the Scarecrow to rule in his stead, which he agrees to do after helping Dorothy return to Kansas.  Toto chases a kitten in the crowd and Dorothy goes after him, but the ropes holding the balloon break and the Wizard floats away.

Dorothy summons the Winged Monkeys and tells them to carry her and Toto home, but they explain they can’t cross the desert surrounding Oz.  The Soldier with the Green Whiskers informs Dorothy that Glinda, the Good Witch of the South may be able to help her return home, so the travellers begin their journey to see Glinda’s castle in Quadling Country.  On the way, the Lion kills a giant spider who is terrorizing the animals in a forest.  They ask him to become their king, which he agrees to do after helping Dorothy return to Kansas.  Dorothy summons the Winged Monkeys a third time to fly them over a hill to Glinda’s castle.

Glinda greets them and reveals that Dorothy’s silver shoes can take her anywhere she wishes to go.  She embraces her friends, all of whom will be returned to their new kingdoms through Glinda’s three uses of the Golden Cap: the Scarecrow to the Emerald City, the Tin Woodman to Winkie Country, and the Lion to the forest; after which the cap will be given to the King of the Winged Monkeys, freeing him and his band. Dorothy takes Toto in her arms, knocks her heels together three times, and wishes to return home.  Instantly, she begins whirling through the air and rolling on the grass of the Kansas prairie, up to the farmhouse, though the silver shoes fall off her feet en route and are lost in the Deadly Desert.  She runs to Aunt Em, saying “I’m so glad to be home again!”

Illustrations

The book was illustrated by Baum’s friend and collaborator W. W. Denslow, who also co-held the copyright.  The design was lavish for the time, with illustrations on many pages, backgrounds in different colours, and several colour plate illustrations.  The typeface featured the newly designed Monotype Old Style.  In September 1900, The Grand Rapids Herald wrote that Denslow’s illustrations are “quite as much of the story as in the writing”.  The editorial opined that had it not been for Denslow’s pictures, the readers would be unable to picture precisely the figures of Dorothy, Toto, and the other characters.

Denslow’s illustrations were so well known that merchants of many products obtained permission to use them to promote their wares.  The forms of the Scarecrow, the Tin Woodman, the Cowardly Lion, the Wizard, and Dorothy were made into rubber and metal sculptures. Costume jewellery, mechanical toys, and soap were also designed using their figures.  The distinctive look of Denslow’s illustrations led to imitators at the time, most notably Eva Katherine Gibson’s Zauberlinda, the Wise Witch, which mimicked both the typography and the illustration design of Oz.

A new edition of the book appeared in 1944, with illustrations by Evelyn Copelman.  Although it was claimed that the new illustrations were based on Denslow’s originals, they more closely resemble the characters as seen in the famous 1939 film version of Baum’s book.

Creative Inspiration

L. Frank Baum’s Personal Life

According to Baum’s son, Harry Neal, the author had often told his children “whimsical stories before they became material for his books.”  Harry called his father the “swellest man I knew,” a man who was able to give a decent reason as to why black birds cooked in a pie could afterwards get out and sing.

Many of the characters, props, and ideas in the novel were drawn from Baum’s personal life and experiences.  Baum held different jobs, moved a lot, and was exposed to many people, so the inspiration for the story could have been taken from many different aspects of his life.  In the introduction to the story, Baum writes that “it aspires to being a modernized fairy tale, in which the wonderment and joy are retained and the heart-aches and nightmares are left out.”

Scarecrow And The Tin Woodman

As a child, Baum frequently had nightmares of a scarecrow pursuing him across a field.  Moments before the scarecrow’s “ragged hay fingers” nearly gripped his neck, it would fall apart before his eyes.  Decades later, as an adult, Baum integrated his tormentor into the novel as the Scarecrow.  In the early 1880s, Baum’s play Matches was being performed when a “flicker from a kerosene lantern sparked the rafters”, causing the Baum opera house to be consumed by flames.  Scholar Evan I. Schwartz suggested that this might have inspired the Scarecrow’s severest terror: “There is only one thing in the world I am afraid of. A lighted match.”

According to Baum’s son Harry, the Tin Woodman was born from Baum’s attraction to window displays.  He wished to make something captivating for the window displays, so he used an eclectic assortment of scraps to craft a striking figure.  From a wash-boiler, he made a body, from bolted stovepipes he made arms and legs, and from the bottom of a saucepan he made a face.  Baum then placed a funnel hat on the figure, which ultimately became the Tin Woodman.

Dorothy, Uncle Henry, And The Witches

Baum’s wife Maud Gage frequently visited their newborn niece, Dorothy Louise Gage, whom she adored as the daughter she never had.  The infant became gravely sick and died aged five months in Bloomington, Illinois on November 11, 1898, from the congestion of the brain.  Maud was devastated.  To assuage her distress, Frank made his protagonist of The Wonderful Wizard of Oz a girl named Dorothy, and he dedicated the book to his wife.  The baby was buried at Evergreen Cemetery, where her gravestone has a statue of the character Dorothy placed next to it.

Decades later, Jocelyn Burdick—the daughter of Baum’s other niece Magdalena Carpenter and a former Democratic U.S. Senator from North Dakota—asserted that her mother also partly inspired the character of Dorothy.  Burdick claimed that her great-uncle spent “considerable time at the Сarpenter homestead… and became very attached to Magdalena.”  Burdick has reported many similarities between her mother’s homestead and the farm of Aunt Em and Uncle Henry.

Uncle Henry was modelled after Henry Gage, Baum’s father-in-law.  Bossed around by his wife Matilda, Henry rarely dissented with her.  He flourished in business, though, and his neighbours looked up to him.  Likewise, Uncle Henry was a “passive but hard-working man” who “looked stern and solemn, and rarely spoke”.  The witches in the novel were influenced by witch-hunting research gathered by Matilda Gage.  The stories of barbarous acts against accused witches scared Baum.  Two key events in the novel involve wicked witches who meet their death through metaphorical means.

The Emerald City And The Land Of Oz

In 1890, Baum lived in Aberdeen, South Dakota during a drought, and he wrote a witty story in his “Our Landlady” column in Aberdeen’s The Saturday Pioneer about a farmer who gave green goggles to his horses, causing them to believe that the wood chips that they were eating were pieces of grass.  Similarly, the Wizard made the people in the Emerald City wear green goggles so that they would believe that their city was built from emeralds.

During Baum’s short stay in Aberdeen, the dissemination of myths about the plentiful West continued.  However, the West, instead of being a wonderland, turned into a wasteland because of a drought and a depression.  In 1891, Baum moved his family from South Dakota to Chicago.  At that time, Chicago was getting ready for the World’s Columbian Exposition in 1893. Scholar Laura Barrett stated that Chicago was “considerably more akin to Oz than to Kansas”.  After discovering that the myths about the West’s incalculable riches were baseless, Baum created “an extension of the American frontier in Oz”.  In many respects, Baum’s creation is similar to the actual frontier save for the fact that the West was still undeveloped at the time.  The Munchkins Dorothy encounters at the beginning of the novel represent farmers, as do the Winkies she later meets.

Local legend has it that Oz, also known as the Emerald City, was inspired by a prominent castle-like building in the community of Castle Park near Holland, Michigan, where Baum lived during the summer.  The yellow brick road was derived from a road at that time paved by yellow bricks, located in Peekskill, New York, where Baum attended the Peekskill Military Academy.  Baum scholars often refer to the 1893 Chicago World’s Fair (the “White City”) as an inspiration for the Emerald City.  Other legends suggest that the inspiration came from the Hotel Del Coronado near San Diego, California. Baum was a frequent guest at the hotel and had written several of the Oz books there.  In a 1903 interview with The Publishers’ Weekly, Baum said that the name Oz came from his file cabinet labelled “O–Z”.

Some critics have suggested that Baum’s Oz may have been inspired by Australia.  Australia is often colloquially spelt or referred to as Oz.  Furthermore, in Ozma of Oz (1907), Dorothy gets back to Oz as the result of a storm at sea while she and Uncle Henry are travelling by ship to Australia.  Like Australia, Oz is an island continent somewhere to the west of California with inhabited regions bordering on a great desert. Baum perhaps intended Oz to be Australia or a magical land in the centre of the great Australian desert.

Alice’s Adventures In Wonderland

In addition to being influenced by the fairy-tales of the Brothers Grimm and Hans Christian Andersen, Baum was significantly influenced by English writer Lewis Carroll’s 1865 novel Alice’s Adventures in Wonderland.  Although Baum found the plot of Carroll’s novel to be incoherent, he identified the book’s source of popularity as Alice herself—a child with whom younger readers could identify, and this influenced Baum’s choice of Dorothy as his protagonist.

Baum also was influenced by Carroll’s views that all children’s books should be lavishly illustrated, be pleasurable to read, and not contain any moral lessons.  During the Victorian era, Carroll had rejected the popular expectation that children’s books must be saturated with moral lessons and instead he contended that children should be allowed to be children.

Although influenced by Carroll’s distinctly English work, Baum nonetheless sought to create a story that had recognizable American elements, such as farming and industrialization.  Consequently, Baum combined the conventional features of a fairy tale such as witches and wizards with well-known fixtures in his young readers’ Midwestern lives such as scarecrows and cornfields.

Influence Of Denslow

The original illustrator of the novel, W. W. Denslow, aided in the development of Baum’s story and greatly influenced the way it has been interpreted.  Baum and Denslow had a close working relationship and worked together to create the presentation of the story through the images and the text.  Colour is an important element of the story and is present throughout the images, with each chapter having a different colour representation.  Denslow also added characteristics to his drawings that Baum never described.  For example, Denslow drew a house and the gates of the Emerald City with faces on them.

In the later Oz books, John R. Neill, who illustrated all the sequels, continued to use elements from Denslow’s earlier illustrations, including faces on the Emerald City’s gates.  Another aspect is the Tin Woodman’s funnel hat, which is not mentioned in the text until later books but appears in most artists’ interpretation of the character, including the stage and film productions of 1902–09, 1908, 1910, 1914, 1925, 1931, 1933, 1939, 1982, 1985, 1988, 1992, and others.  One of the earliest illustrators not to include a funnel hat was Russell H. Schulz in the 1957 Whitman Publishing edition—Schulz depicted him wearing a pot on his head.  Libico Maraja’s illustrations, which first appeared in a 1957 Italian edition and have also appeared in English-language and other editions, are well known for depicting him bareheaded.

Allusions To 19th-Century America

Many decades after its publication, Baum’s work gave rise to a number of political interpretations, particularly in regards to the 19th-century Populist movement in the United States.  In a 1964 American Quarterly article titled “The Wizard of Oz: Parable on Populism”, educator Henry Littlefield posited that the book served as an allegory for the late 19th-century bimetallism debate regarding monetary policy.  Littlefield’s thesis achieved some support but was widely criticized by others.  Other political interpretations soon followed.  In 1971, historian Richard J. Jensen theorized in The Winning of the Midwest that Oz was derived from the common abbreviation for “ounce”, used for denoting quantities of gold and silver.

Critical Response

The Wonderful Wizard of Oz received positive critical reviews upon release.  In a September 1900 review, The New York Times praised the novel, writing that it would appeal to child readers and to younger children who could not read yet.  The review also praised the illustrations for being a pleasant complement to the text.

During the subsequent decades after the novel’s publication in 1900, it received little critical analysis from scholars of children’s literature.  Lists of suggested reading published for juvenile readers never contained Baum’s work, and his works were rarely assigned in classrooms.  This lack of interest stemmed from the scholars’ misgivings about fantasy, as well as their belief that lengthy series had little literary merit.

It frequently came under fire in later decades.  In 1957, the director of Detroit’s libraries banned The Wonderful Wizard of Oz for having “no value” for children of today, for supporting “negativism”, and for bringing children’s minds to a “cowardly level”.  Professor Russel B. Nye of Michigan State University countered that “if the message of the Oz books—love, kindness, and unselfishness make the world a better place—seems of no value today”, then maybe the time is ripe for “reassess[ing] a good many other things besides the Detroit library’s approved list of children’s books”.

In 1986, seven Fundamentalist Christian families in Tennessee opposed the novel’s inclusion in the public school syllabus and filed a lawsuit.  They based their opposition to the novel on its depicting benevolent witches and promoting the belief that integral human attributes were “individually developed rather than God-given”.  One parent said, “I do not want my children seduced into godless supernaturalism”.  Other reasons included the novel’s teaching that females are equal to males and that animals are personified and can speak.  The judge ruled that when the novel was being discussed in class, the parents were allowed to have their children leave the classroom.

In April 2000, the Library of Congress declared The Wonderful Wizard of Oz to be “America’s greatest and best-loved homegrown fairytale”, also naming it the first American fantasy for children and one of the most-read children’s books.  Leonard Everett Fisher of The Horn Book Magazine wrote in 2000 that Oz has “a timeless message from a less complex era, and it continues to resonate”.  The challenge of valuing oneself during impending adversity has not, Fisher noted, lessened during the prior 100 years.  Two years later, in a 2002 review, Bill Delaney of Salem Press praised Baum for giving children the opportunity to discover magic in the mundane things in their everyday lives.  He further commended Baum for teaching “millions of children to love reading during their crucial formative years”.  In 2012 it was ranked number 41 on a list of the top 100 children’s novels published by School Library Journal.

Editions

After George M. Hill’s bankruptcy in 1902, copyright in the book passed to the Bowen-Merrill Company of Indianapolis.  The company published most of Baum’s other books from 1901 to 1903 (Father Goose, His Book (reprint), The Magical Monarch of Mo (reprint), American Fairy Tales (reprint), Dot and Tot of Merryland (reprint), The Master Key, The Army Alphabet, The Navy Alphabet, The Life and Adventures of Santa Claus, The Enchanted Island of Yew, The Songs of Father Goose) initially under the title The New Wizard of Oz.  The word “New” was quickly dropped in subsequent printings, leaving the now-familiar shortened title, “The Wizard of Oz,” and some minor textual changes were added, such as to “yellow daisies,” and changing a chapter title from “The Rescue” to “How the Four Were Reunited.”  The editions they published lacked most of the in-text colour and colour plates of the original.  Many cost-cutting measures were implemented, including removal of some of the colour printing without replacing it with black, printing nothing rather than the beard of the Soldier with the Green Whiskers.

When Baum filed for bankruptcy after his critically and popularly successful film and stage production The Fairylogue and Radio-Plays failed to make back its production costs, Baum lost the rights to all of the books published by what was now called Bobbs-Merrill, and they were licensed to the M. A. Donahue Company, which printed them in significantly cheaper “blotting paper” editions with advertising that directly competed with Baum’s more recent books, published by the Reilly & Britton Company, from which he was making his living, explicitly hurting sales of The Patchwork Girl of Oz, the new Oz book for 1913, to boost sales of Wizard, which Donahue called in a full-page ad in The Publishers’ Weekly (June 28, 1913), Baum’s “one pre-eminently great Juvenile Book.”  In a letter to Baum dated December 31, 1914, F.K. Reilly lamented that the average buyer employed by a retail store would not understand why he should be expected to spend 75 cents for a copy of Tik-Tok of Oz when he could buy a copy of Wizard for between 33 and 36 cents.  Baum had previously written a letter complaining about the Donahue deal, which he did not know about until it was fait accompli, and one of the investors who held The Wizard of Oz rights had inquired why the royalty was only five or six cents per copy, depending on quantity sold, which made no sense to Baum.

A new edition from Bobbs-Merrill in 1949 illustrated by Evelyn Copelman, again titled The New Wizard of Oz, paid lip service to Denslow but was based strongly, apart from the Lion, on the MGM movie.  Copelman had illustrated a new edition of The Magical Monarch of Mo two years earlier.

It was not until the book entered the public domain in 1956 that new editions, either with the original colour plates, or new illustrations, proliferated.  A revised version of Copelman’s artwork was published in a Grosset & Dunlap edition, and Reilly & Lee (formerly Reilly & Britton) published an edition in line with the Oz sequels, which had previously treated The Marvelous Land of Oz as the first Oz book, not having the publication rights to Wizard, with new illustrations by Dale Ulrey.  Ulrey had previously illustrated Jack Snow’s Jaglon and the Tiger-Faries, an expansion of a Baum short story, The Story of Jaglon, and a 1955 edition of The Tin Woodman of Oz, though both sold poorly. Later Reilly & Lee editions used Denslow’s original illustrations.

Notable more recent editions are the 1986 Pennyroyal edition illustrated by Barry Moser, which was reprinted by the University of California Press, and the 2000 The Annotated Wizard of Oz edited by Michael Patrick Hearn (heavily revised from a 1972 edition that was printed in a wide format that allowed for it to be a facsimile of the original edition with notes and additional illustrations at the sides), which was published by W. W. Norton and included all the original colour illustrations, as well as supplemental artwork by Denslow.  Other centennial editions included University Press of Kansas’s Kansas Centennial Edition, illustrated by Michael McCurdy with black-and-white illustrations, and Robert Sabuda’s pop-up book.

Read more about The Wonderful Wizard Of Oz here.

The above articles were sourced from Wikipedia and are subject to change.

1900 first edition back cover image: © W. W. Denslow and is in the Public Domain via Wikipedia

Blog Posts

Notes And Links

The 1900 first edition front cover image shown at the top of this page is © W. W. Denslow and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz. 

Books: L. Frank Baum

Image © of George Steckel and is in the Public Domain via Wikipedia

You can download all of the fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking on The Oz Series By L. Frank Baum link in Blog Posts below.

About L. Frank Baum

Lyman Frank Baum was an American author best known for his children’s books, particularly The Wonderful Wizard of Oz and its sequels.  He wrote 14 novels in the Oz series, plus 41 other novels (not including four lost, unpublished novels), 83 short stories, over 200 poems, and at least 42 scripts.  He made numerous attempts to bring his works to the stage and screen; the 1939 adaptation of the first Oz book became a landmark of 20th-century cinema.

Born and raised in upstate New York, Baum moved west after an unsuccessful stint as a theatre producer and playwright.  He and his wife opened a store in South Dakota and he edited and published a newspaper.  They then moved to Chicago, where he worked as a newspaper reporter and published children’s literature, coming out with the first Oz book in 1900.  While continuing his writing, among his final projects he sought to establish a movie studio focused on children’s films in Los Angeles, California.

His works anticipated such later commonplaces as television, augmented reality, laptop computers (The Master Key), wireless telephones (Tik-Tok of Oz), women in high-risk and action-heavy occupations (Mary Louise in the Country), and the ubiquity of clothes advertising (Aunt Jane’s Nieces at Work).

L. Frank Baum’s Childhood And Early Life

Baum was born in Chittenango, New York, in 1856 into a devout Methodist family.  He had German, Scots-Irish, and English ancestry.  He was the seventh of nine children of Cynthia Ann (née Stanton) and Benjamin Ward Baum, only five of whom survived into adulthood.  “Lyman” was the name of his father’s brother, but he always disliked it and preferred his middle name, Frank.

His father succeeded in many businesses, including barrel-making, oil drilling in Pennsylvania, and real estate.  Baum grew up on his parents’ expansive estate called Rose Lawn, which he fondly recalled as a sort of paradise.  Rose Lawn was located in Mattydale, New York.  Frank was a sickly, dreamy child, tutored at home with his siblings.  From the age of 12, he spent two miserable years at Peekskill Military Academy but, after being severely disciplined for daydreaming, he had a possibly psychogenic heart attack and was allowed to return home.

Baum started writing early in life, possibly prompted by his father buying him a cheap printing press.  He had always been close to his younger brother Henry (Harry) Clay Baum, who helped in the production of The Rose Lawn Home Journal.  The brothers published several issues of the journal, including advertisements from local businesses, which they gave to family and friends for free.  By the age of 17, Baum established a second amateur journal called The Stamp Collector, printed an 11-page pamphlet called Baum’s Complete Stamp Dealers’ Directory, and started a stamp dealership with friends.

At 20, Baum took on the national craze of breeding fancy poultry.  He specialized in raising the Hamburg chicken.  In March 1880, he established a monthly trade journal, The Poultry Record, and in 1886, when Baum was 30 years old, his first book was published: The Book of the Hamburgs: A Brief Treatise upon the Mating, Rearing, and Management of the Different Varieties of Hamburgs.

Baum had a flair for being the spotlight of fun in the household, including during times of financial difficulties.  His selling of fireworks made the Fourth of July memorable.  His skyrockets, Roman candles, and fireworks filled the sky, while many people around the neighborhood would gather in front of the house to watch the displays.  Christmas was even more festive.  Baum dressed as Santa Claus for the family.  His father would place the Christmas tree behind a curtain in the front parlor so that Baum could talk to everyone while he decorated the tree without people managing to see him.  He maintained this tradition all his life.

Image © unknown and is in the Public Domain via Wikipedia

L. Frank Baum served for two years as a cadet at the Peekskill Military School, which overlooked the Hudson. He was about 12 years old in this 1868 photograph.

L. Frank Baum’s Career

Theatre

Baum embarked on his lifetime infatuation—and wavering financial success—with the theatre.  A local theatrical company duped him into replenishing their stock of costumes on the promise of leading roles coming his way.  Disillusioned, Baum left the theatre—temporarily—and went to work as a clerk in his brother-in-law’s dry goods company in Syracuse.  This experience may have influenced his story “The Suicide of Kiaros”, first published in the literary journal The White Elephant.  A fellow clerk one day had been found locked in a storeroom dead, probably from suicide.

Baum could never stay away long from the stage.  He performed in plays under the stage names of Louis F. Baum and George Brooks.  In 1880, his father built him a theatre in Richburg, New York, and Baum set about writing plays and gathering a company to act in them.  The Maid of Arran proved a modest success, a melodrama with songs based on William Black’s novel A Princess of Thule.  Baum wrote the play and composed songs for it (making it a prototypical musical, as its songs relate to the narrative), and acted in the leading role.  His aunt Katharine Gray played his character’s aunt.  She was the founder of Syracuse Oratory School, and Baum advertised his services in her catalogue to teach theatre, including stage business, playwriting, directing, translating (French, German, and Italian), revision, and operettas.

On November 9, 1882, Baum married Maud Gage, a daughter of Matilda Joslyn Gage, a famous women’s suffrage and feminist activist.  While Baum was touring with The Maid of Arran, the theatre in Richburg caught fire during a production of Baum’s ironically titled parlour drama Matches, destroying the theatre as well as the only known copies of many of Baum’s scripts, including Matches, as well as costumes.

The South Dakota Years

In July 1888, Baum and his wife moved to Aberdeen, Dakota Territory where he opened a store called “Baum’s Bazaar”.  His habit of giving out wares on credit led to the eventual bankrupting of the store, so Baum turned to editing the local newspaper The Aberdeen Saturday Pioneer where he wrote the column Our Landlady.  Following the death of Sitting Bull at the hands of Indian agency police, Baum urged the wholesale extermination of all America’s native peoples in a column that he wrote on December 20, 1890.  He wrote:

The Pioneer has before declared that our only safety depends upon the total extirmination [sic] of the Indians.  Having wronged them for centuries, we had better, in order to protect our civilization, follow it up by one more wrong and wipe these untamed and untamable creatures from the face of the earth”.

Baum’s description of Kansas in The Wonderful Wizard of Oz is based on his experiences in drought-ridden South Dakota.  During much of this time, Matilda Joslyn Gage was living in the Baum household.  While Baum was in South Dakota, he sang in a quartet which included James Kyle, who became one of the first Populist (People’s Party) Senators in the U.S.

Writing

Baum’s newspaper failed in 1891, and he, Maud, and their four sons moved to the Humboldt Park section of Chicago, where Baum took a job reporting for the Evening Post.  Beginning in 1897, he founded and edited a magazine called The Show Window, later known as the Merchants Record and Show Window, which focused on store window displays, retail strategies and visual merchandising.  The major department stores of the time created elaborate Christmas time fantasies, using clockwork mechanisms that made people and animals appear to move.  The former Show Window magazine is still currently in operation, now known as VMSD magazine (visual merchandising + store design), based in Cincinnati.  In 1900, Baum published a book about window displays in which he stressed the importance of mannequins in drawing customers.  He also had to work as a travelling salesman.

In 1897, he wrote and published Mother Goose in Prose, a collection of Mother Goose rhymes written as prose stories and illustrated by Maxfield Parrish.  Mother Goose was a moderate success and allowed Baum to quit his sales job (which had had a negative impact on his health).  In 1899, Baum partnered with illustrator W. W. Denslow to publish Father Goose, His Book, a collection of nonsense poetry.  The book was a success, becoming the best-selling children’s book of the year.

Image © unknown and is in the Public Domain via Wikipedia

In 1897 Mother Goose by L. Frank Baum and Maxfield Parrish was used to promote a breakfast cereal (part 1 of 12 as a free premium).

Image © unknown and is in the Public Domain via Wikipedia

Promotional Poster for Popular Books For Children, circa 1901.

Image © unknown and is in the Public Domain via Wikipedia

W. W. Denslow in 1900.

The Wonderful Wizard Of Oz

In 1900, Baum and Denslow (with whom he shared the copyright) published The Wonderful Wizard of Oz to much critical acclaim and financial success.  The book was the best-selling children’s book for two years after its initial publication.  Baum went on to write thirteen more novels based on the places and people of the Land of Oz.

The Wizard Of Oz: Fred R. Hamlin’s Musical Extravaganza

Two years after Wizard‘s publication, Baum and Denslow teamed up with composer Paul Tietjens and director Julian Mitchell to produce a musical stage version of the book under Fred R. Hamlin.  Baum and Tietjens had worked on a musical of The Wonderful Wizard of Oz in 1901 and based closely upon the book, but it was rejected.  This stage version opened in Chicago in 1902 (the first to use the shortened title, The Wizard of Oz), then ran on Broadway for 293 stage nights from January to October 1903.  It returned to Broadway in 1904, where it played from March to May and again from November to December.  It successfully toured the United States with much of the same cast, as was done in those days, until 1911, and then became available for amateur use.  The stage version starred Anna Laughlin as Dorothy Gale, alongside David C. Montgomery and Fred Stone as the Tin Woodman and Scarecrow respectively, which shot the pair to instant fame.

The stage version differed quite a bit from the book and was aimed primarily at adults.  Toto was replaced with Imogene the Cow, and Tryxie Tryfle (a waitress) and Pastoria (a streetcar operator) were added as fellow cyclone victims.  The Wicked Witch of the West was eliminated entirely in the script, and the plot became about how the four friends were allied with the usurping Wizard and were hunted as traitors to Pastoria II, the rightful King of Oz.  It is unclear how much control or influence Baum had on the script; it appears that many of the changes were written by Baum against his wishes due to contractual requirements with Hamlin.  Jokes in the script, mostly written by Glen MacDonough, called for explicit references to President Theodore Roosevelt, Senator Mark Hanna, Rev. Andrew Danquer, and oil tycoon John D. Rockefeller.  Although the use of the script was rather free-form, the line about Hanna was ordered dropped as soon as Hamlin got word of his death in 1904.

Beginning with the success of the stage version, most subsequent versions of the story, including newer editions of the novel, have been titled The Wizard of Oz, rather than using the full, original title.  In more recent years, restoring the full title has become increasingly common, particularly to distinguish the novel from the Hollywood film.

Baum wrote a new Oz book, The Marvelous Land of Oz, with a view to making it into a stage production, which was titled The Woggle-Bug, but Montgomery and Stone baulked at appearing when the original was still running.  The Scarecrow and Tin Woodman were then omitted from this adaptation, which was seen as a self-rip-off by critics and proved to be a major flop before it could reach Broadway.  He also worked for years on a musical version of Ozma of Oz, which eventually became The Tik-Tok Man of Oz.  This did fairly well in Los Angeles, but not well enough to convince producer Oliver Morosco to mount a production in New York.  He also began a stage version of The Patchwork Girl of Oz, but this was ultimately realized as a film.

Image © of U.S. Lithograph Co.and is in the Public Domain via Wikipedia

A 1903 poster of Dave Montgomery as the Tin Man in Fred R. Hamlin’s musical stage version of The Wizard Of Oz.

Later Life And Work

With the success of Wizard on page and stage, Baum and Denslow hoped for further success and published Dot and Tot of Merryland in 1901.  The book was one of Baum’s weakest, and its failure further strained his faltering relationship with Denslow.  It was their last collaboration.  Baum worked primarily with John R. Neill on his fantasy work beginning in 1904, but Baum met Neill a few times (all before he moved to California) and often found Neill’s art not humorous enough for his liking.  He was particularly offended when Neill published The Oz Toy Book: Cut-outs for the Kiddies without authorization.

Baum reportedly designed the chandeliers in the Crown Room of the Hotel del Coronado; however, that attribution has yet to be corroborated.  Several times during the development of the Oz series, Baum declared that he had written his last Oz book and devoted himself to other works of fantasy fiction based in other magical lands, including The Life and Adventures of Santa Claus and Queen Zixi of Ix.  However, he returned to the series each time, persuaded by popular demand, letters from children, and the failure of his new books.  Even so, his other works remained very popular after his death, with The Master Key appearing on St. Nicholas Magazine’s survey of readers’ favourite books well into the 1920s.

In 1905, Baum declared plans for an Oz amusement park.  In an interview, he mentioned buying “Pedloe Island” off the coast of California to turn it into an Oz park.  However, there is no evidence that he purchased such an island, and no one has ever been able to find any island whose name even resembles Pedloe in that area.  Nevertheless, Baum stated to the press that he had discovered a Pedloe Island off the coast of California and that he had purchased it to be “the Marvelous Land of Oz,” intending it to be “a fairy paradise for children.”  Eleven-year-old Dorothy Talbot of San Francisco was reported to be ascendant to the throne on March 1, 1906, when the Palace of Oz was expected to be completed.   Baum planned to live on the island, with administrative duties handled by the princess and her all-child advisers.  Plans included statues of the Scarecrow, Tin Woodman, Jack Pumpkinhead, and H.M. Woggle-Bug, T.E.  Baum abandoned his Oz park project after the failure of The Woggle-Bug, which was playing at the Garrick Theatre in 1905.

Because of his lifelong love of theatre, he financed elaborate musicals, often to his financial detriment.  One of Baum’s worst financial endeavours was his The Fairylogue and Radio-Plays (1908), which combined a slideshow, film, and live actors with a lecture by Baum as if he were giving a travelogue to Oz.  However, Baum ran into trouble and could not pay his debts to the company that produced the films.  He did not get back to a stable financial situation for several years, after he sold the royalty rights to many of his earlier works, including The Wonderful Wizard of Oz.  This resulted in the M.A. Donahue Company publishing cheap editions of his early works with advertising which purported that Baum’s newer output was inferior to the less expensive books that they were releasing.  He claimed bankruptcy in August 1911.  However, Baum had shrewdly transferred most of his property into Maud’s name, except for his clothing, his typewriter, and his library (mostly of children’s books, such as the fairy tales of Andrew Lang, whose portrait he kept in his study)—all of which, he successfully argued, was essential to his occupation.  Maud handled the finances anyway, and thus Baum lost much less than he could have.

Read more about Later Life And Work here.

Image © unknown and is in the Public Domain via Wikipedia

L. Frank Baum and characters in The Fairylogue and Radio Plays in 1908.

Death

On May 5, 1919, Baum suffered a stroke, slipped into a coma and died the following day, at the age of 62.  His last words were spoken to his wife during a brief period of lucidity: “Now we can cross the Shifting Sands.”  He was buried in Glendale’s Forest Lawn Memorial Park Cemetery.

His final Oz book, Glinda of Oz, was published on July 10, 1920, a year after his death.  The Oz series was continued long after his death by other authors, notably Ruth Plumly Thompson, who wrote an additional twenty-one Oz books. 

Image © Meribona and is in the Public Domain via Wikipedia

Frank L. Baum’s grave at Forest Lawn Cemetery, Glendale, California in 2011.

Read more about L. Frank Baum here.

The above articles were sourced from Wikipedia and are subject to change.

Blog Posts

Notes And Links

The image above of L. Frank Baum shown at the top of this page is copyright of George Steckel.

The image above of L. Frank Baum as a cadet at the Peekskill Military School is copyright unknown.

The image above of Mother Goose by L. Frank Baum and Maxfield Parrish is copyright unknown.

The image above of the Promotional Poster for Popular Books For Children, circa 1901 is copyright unknown.

The image above of W. W. Denslow in 1900 is copyright unknown.

The image above of a 1903 poster of Dave Montgomery as the Tin Man in Fred R. Hamlin’s musical stage version of The Wizard Of Oz is copyright of U.S. Lithograph Co.

All the above images are in the Public Domain via Wikipedia.

The image above of  Frank L. Baum’s grave at Forest Lawn Cemetery, Glendale, California in 2011 is copyright of Wikipedia user Meribona.   It comes with a Creative Commons licence (CC BY-SA 3.0)

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

Creative CommonsOfficial website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz. 

Books: The Oz Series By L. Frank Baum

Image © of George Steckel and is in the Public Domain via Wikipedia

Below are all of the fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg for you to download for FREE and a brief description of each book.

They come in PDF format and if you don’t have a PDF reader you can download one from here.  

Also shown is anything related to the Oz series which was written when Baum was alive.  I am not including anything to do with Oz written after his death but you can find out about all that at the bottom of this page.

The Land Of Oz 

The Land of Oz is a magical country first introduced in the 1900 children’s novel The Wonderful Wizard of Oz written by L. Frank Baum and illustrated by W. W. Denslow.

Oz consists of four vast quadrants, the Gillikin Country in the north, Quadling Country in the south, Munchkin Country in the east, and Winkie Country in the west.  Each province has its own ruler, but the realm itself has always been ruled by a single monarch. According to The Marvelous Land of Oz, this monarch is Princess Ozma.

Originally, Baum did not intend for The Wonderful Wizard of Oz to have any sequels, but it achieved greater popularity than any of the other fairylands he created, including the land of Merryland in Baum’s children’s novel Dot and Tot in Merryland, written a year later.  Due to Oz’s worldwide success, Baum decided to return to it four years after The Wonderful Wizard of Oz was published.  For the next two decades, he described and expanded upon the land in the Oz Books, a series that introduced many fictional characters and creatures.  Baum intended to end the series with the sixth Oz book The Emerald City of Oz (1910), in which Oz is forever sealed off and made invisible to the outside world, but this did not sit well with fans, and he quickly abandoned the idea, writing eight more successful Oz books, and even naming himself the “Royal Historian of Oz.”

In all, Baum wrote fourteen best-selling children’s books about Oz and its enchanted inhabitants, as well as a spin-off series of six early readers.  After his death in 1919, author Ruth Plumly Thompson, illustrator John R. Neill (who had previously collaborated with Baum on his Oz books) and several other writers and artists continued the series.  There are now over 50 novels based upon Baum’s original Oz saga.

Baum characterized Oz as a real place, unlike MGM’s 1939 musical movie adaptation, which presents it as a dream of lead character Dorothy Gale.  According to the Oz books, it is a hidden fairyland cut off from the rest of the world by the Deadly Desert.

A shorthand reference for a person living in Oz is “Ozite”.  The term appears in Dorothy and the Wizard in Oz, The Road to Oz, and The Emerald City of Oz.  Elsewhere in the books, “Ozmie” is also used.  In the animated 1974 semi-sequel to the MGM film, Journey Back to Oz, “Ozonian” is in the script.  The term “Ozian” appears in the Royal Shakespeare Company’s stage adaptation of the MGM movie and in the work Wicked.  “Ozmite” was used in Reilly & Lee marketing in the 1920s, a fact which has suggested to some critics that “Ozmie” may have been a typographical error.

Read lots more about the Land Of Oz in great detail including its characteristics, geography, history, animals, races, magic, characters etc. by clicking here.

The Original Oz Books By L. Frank Baum

The Oz books form a book series that begins with The Wonderful Wizard of Oz and relates the fictional history of the Land of Oz.  All of Baum’s books are in the public domain in the United States.  In his Oz books, Baum created the illusion that characters such as Dorothy and Princess Ozma relayed their adventures in Oz to Baum themselves, by means of a wireless telegraph.

Book One: The Wonderful Wizard Of Oz (1900)

1900 first edition front cover image: © W. W. Denslow and is in the Public Domain via Wikipedia

A little farm girl named Dorothy and her pet dog, Toto, get swept away into the Land of Oz by a Kansas cyclone.  Upon her arrival, she is hailed as a sorceress, liberates a living Scarecrow, meets a man made entirely of tin, and a Cowardly Lion.  But all Dorothy really wants to know is how she can return home.  The ruler of Oz, the great Wizard, who resides in an Emerald City, may be the only one powerful enough to help her.  

This was also reprinted by various publishers under the names The New Wizard of Oz and The Wizard of Oz with occasional minor changes in the text.  It was originally written as a one-shot book.

Read about this book in more detail by clicking here.

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Read this book online, get more download options and a bibliographic record on Project Gutenberg by clicking here.

Book Two: The Marvelous Land Of Oz (1904)

1904 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

A little boy, Tip, escapes from his evil guardian, the witch Mombi, with the help of a walking wooden figure with a jack-o’-lantern head named Jack Pumpkinhead (brought to life with the magic Powder of Life Tip stole from Mombi), as well as a living Sawhorse (created from the same powder).  Tip ends up on an adventure with the Scarecrow and Tin Woodman to help Scarecrow recapture his throne from General Jinjur’s army of girls.

Read about this book in more detail by clicking here.

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Book Three: Ozma Of Oz (1907)

1907 first edition cover image: © John. R. Neill and is in the Public Domain via Wikipedia

While travelling to Australia with her Uncle Henry, Dorothy is swept overboard with a hen named Billina.  They land in Ev, a country across the desert from Oz, where they encounter the wheelers and make a new friend, the mechanical man Tik-Tok.  They meet Princess Ozma, who is in Ev to attempt to save Ev’s royal family from the evil Nome King, and finally return to Oz.

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Book Four: Dorothy And The Wizard In Oz (1908)

1908 first edition cover image: © John. R. Neill and is in the Public Domain via Wikipedia

On her way back from Australia, Dorothy visits her cousin, Zeb, in California.  They are soon swallowed up by an earthquake, along with Zeb’s horse Jim and Dorothy’s cat Eureka.  The group soon meets up with the Wizard and all travel underground back to Oz.

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Book Five: The Road To Oz (1909)

1909 first edition cover image: © John. R. Neill and is in the Public Domain via Wikipedia

Dorothy meets the Shaggy Man, and while trying to find the road to Butterfield, they get lost on an enchanted road.  As they travel they meet the rainbow’s daughter, Polychrome, and a little boy, Button-Bright.  They have all sorts of strange adventures on the way to Oz.

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Read this book online, get more download options and a bibliographic record on Project Gutenberg by clicking here.

Book Six: The Emerald City Of Oz (1910)

1910 first edition cover image: © John. R. Neill and is in the Public Domain via Wikipedia

Dorothy Gale and her Uncle Henry and Aunt Em come to live in Oz permanently.  While they tour through the Quadling Country, the Nome King is tunnelling beneath the desert to invade Oz.  

This was originally intended to be the last book in the series.

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Book Seven: The Patchwork Girl Of Oz (1913)

1913 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

A Munchkin boy named Ojo must find a cure to free his Uncle Nunkie from a magical spell that has turned him into a statue.  With the help of Scraps, an anthropomorphic patchwork doll, Ojo journeys through Oz to save his uncle.  

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Book Eight: Tik-Tok Of Oz (1914)

1914 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

Betsy Bobbin, a girl from Oklahoma, is shipwrecked with her mule, Hank, in the Rose Kingdom of Oz.  She meets the Shaggy Man there and the two try to rescue the Shaggy Man’s brother from the Nome King.  

This book is partly based upon Baum’s stage musical, The Tik-Tok Man of Oz, which was in turn based on Ozma of Oz.

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Book Nine: The Scarecrow Of Oz (1915)

1915 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

Cap’n Bill and Trot journey to Oz and, with the help of the Scarecrow, the former ruler of Oz, overthrow the villainous King Krewl of Jinxland. 

Cap’n Bill and Trot had previously appeared in two other novels by Baum, The Sea Fairies and Sky Island.  Based in part upon the 1914 silent film, His Majesty, the Scarecrow of Oz.  This was allegedly L. Frank Baum’s personal favourite Oz book.

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Book Ten: Rinkitink In Oz (1916)

1916 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

Young Prince Inga of Pingaree, aided by King Rinkitink, three powerful magical pearls, and a goat, attempts to rescue Inga’s parents and their subjects from marauding warriors who have laid waste to Pingaree and enslaved its people. 

Baum originally wrote this book as a non-Oz book which he titled King Rinkitink.

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Book Eleven: The Lost Princess Of Oz (1917)

1917 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

When Princess Ozma mysteriously disappears, four search parties are sent out, one for each of Oz’s four countries.  Most of the book covers Dorothy and the Wizard’s efforts to find her.  Meanwhile, Cayke the Cookie Chef discovers that her magic dishpan (on which she bakes her famous cookies) has been stolen.  Along with the Frogman, they leave their mountain in Winkie Country to find the pan.

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Book Twelve: The Tin Woodman Of Oz (1918)

1918 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

The Tin Woodman, whose real name is Nick Chopper, sets out to find the Munchkin Girl he had courted before he became a tin man.  He and his party (the Scarecrow and a new character who is called Woot the Wanderer) have numerous adventures on this quest.  They are transformed into animals by a hostile giantess, and they meet another live tin man, Captain Fyter, as well as a Frankenstein monster-like creature, Chopfyt, made from their combined fleshly parts by the tinsmith Ku-Klip.

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Book Thirteen: The Magic Of Oz (1919)

1919 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

Ruggedo, former Nome King, tries to conquer Oz again with the help of a Munchkin boy, Kiki Aru.  Meanwhile, it is also Ozma’s birthday, and all of Oz’s citizens are searching for the most unusual present for the little princess.

This was published a month after Baum’s death.

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Book Fourteen: Glinda Of Oz (1920)

1920 first edition front cover image: © John. R. Neill and is in the Public Domain via Wikipedia

Dorothy, Ozma and Glinda try to stop a war in the Gillikin Country.

This was Baum’s last Oz book, and it was published posthumously.  This book contains a dark scene (in the house of Red Reera), most likely due to Baum’s failing health.  Many other Oz books have been released since the publication of Glinda of Oz, but none of them was written by Baum.

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Related To The Oz Series

The following are related to the Oz series of books written during the life of L. Frank Baum.

Queer Visitors From The Marvelous Land Of Oz  (1904 -1905)

Image © Walt McDougall and is in the Public Domain via Wikipedia

Read about it here.

The Woggle-Bug Book (1905)

1905 front cover image is © Ike Morgan and is in the Public Domain via Wikipedia

Read about it here.

Little Wizard Stories Of Oz (1913)

1905 first edition front cover image is © John R. Neill via Wikipedia

Read about it here.

The Littlest Giant: An Oz Story

I can’t find a cover for this or much more information so there is no separate page for it.

The Littlest Giant: An Oz Story is a short story written by Baum in 1917 and illustrated by Bill Eubank. It was discovered after his death with the first page missing.  It was published in The Baum Bugle in 1975.  It was a tale about a magic dart, nominally set in the Gillikin Country but otherwise, it made no reference to Oz.

To read other information relating to the Oz series including subsequent Oz books by other writers etc. after Baums death click here. 

The above descriptions were sourced from Wikipedia and are subject to change.   

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Notes And Links

The image above of L. Frank Baum shown at the top of this page is copyright of George Steckel.

The image above of Queer Visitors from the Marvelous Land of Oz is copyright of Walt McDougall. 

The image above of The Woggle-Bug Book is copyright of Ike Morgan.

The image above of Little Wizard Stories Of Oz is copyright of John R. Neill.

All the above images are in the Public Domain via Wikipedia

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Music: Dean Martin

Image is in the Public Domain via Wikipedia

I have grown up listening to the Rat Pack and especially Dean Martin. He was so cool and I love his music. 

There is an index at the bottom of the page containing some of my favourite songs by him.  

About Dean Martin

Dean Martin was an American singer, actor and comedian.  One of the most popular and enduring American entertainers of the mid-20th century, Martin was nicknamed “The King of Cool.”  Martin gained his career breakthrough together with comedian Jerry Lewis, billed as Martin & Lewis, in 1946.  They performed in nightclubs and later had numerous appearances on radio, television and in films.

Following an acrimonious ending of the partnership in 1956, Martin pursued a solo career as a performer and actor.  Martin established himself as a singer, recording numerous contemporary songs as well as standards from the Great American Songbook.  He became one of the most popular acts in Las Vegas and was known for his friendship with fellow artists Frank Sinatra and Sammy Davis Jr., who together with several others formed the Rat Pack.

Starting in 1965, Martin was the host of the television variety program The Dean Martin Show, which centred on Martin’s singing and comedic talents and was characterized by his relaxed, easy-going demeanour.  From 1974 to 1984, he was roastmaster on the popular Dean Martin Celebrity Roast, which drew celebrities, comedians and politicians.  Throughout his career, Martin performed in concert stages, nightclubs, audio recordings and appeared in 85 film and television productions.

His best known songs include Ain’t That a Kick in the Head?, Memories Are Made of This, That’s Amore, Everybody Loves Somebody, You’re Nobody till Somebody Loves You, Sway, and Volare.

Dean Martin’s Early Life 

Martin was born Dino Paul Crocetti on June 7, 1917, in Steubenville, Ohio, to Italian father Gaetano Alfonso Crocetti (1894 – 1967) and Italian-American mother Angela Crocetti (née Barra; 1899 – 1966).  His father, who was a barber, was originally from Montesilvano, Abruzzo, and his mother’s origins are also believed to be from Abruzzo, although they are not clearly known.  Martin had an older brother named William Alfonso Crocetti (1916 – 1968).  His first language was Italian and he did not speak English until he started school at the age of five.  He attended Grant Elementary School in Steubenville, where he was bullied for his broken English.  As a teenager, he played the drums as a hobby.  He dropped out of Steubenville High School in the tenth grade because, according to Martin, he thought he was smarter than his teachers.  He bootlegged liquor, worked in a steel mill, served as a croupier at a speakeasy and a blackjack dealer, and was a welterweight boxer.

At 15 he billed himself as “Kid Crochet”.  His prizefighting earned him a broken nose (later straightened), a scarred lip, many broken knuckles (a result of not being able to afford tape used to wrap boxers’ hands), and a bruised body.  Of his 12 bouts, he said that he “won all but 11”.  For a time, he shared a New York City apartment with Sonny King, who was also starting in show business and had little money.  The two reportedly charged people to watch them bare-knuckle box each other in their apartment, fighting until one was knocked out.  Martin knocked out King in the first round of an amateur boxing match.  Martin gave up boxing to work as a roulette stickman and croupier in an illegal casino behind a tobacco shop, where he had started as a stock boy.  At the same time, he sang with local bands, calling himself “Dino Martini” (after the Metropolitan Opera tenor Nino Martini).  He got his break working for the Ernie McKay Orchestra.  He sang in a crooning style influenced by Harry Mills of the Mills Brothers and Perry Como.  By late 1940 he had begun singing for Cleveland bandleader Sammy Watkins, who suggested he change his name to Dean Martin.  He stayed with Watkins until at least May 1943.  By fall 1943 he had begun performing in New York.  Martin was drafted into the military in World War II but after 14 months he was discharged due to a hernia.

In October 1941, Martin married Elizabeth “Betty” Anne McDonald in Cleveland, and the couple had an apartment in Cleveland Heights for a while.  They eventually had four children before the marriage ended in 1949.

Dean Martin’s Career

Teaming With Jerry Lewis

Martin attracted the attention of Metro-Goldwyn-Mayer and Columbia Pictures, but a Hollywood contract was not forthcoming.  He met comic Jerry Lewis at the Glass Hat Club in New York, where both were performing.  Martin and Lewis formed a fast friendship which led to their participation in each other’s acts and the formation of a music-comedy team.  Martin and Lewis’s debut together occurred at Atlantic City’s 500 Club on July 24, 1946, and they were not well received.  The owner, Skinny D’Amato, warned them that if they did not come up with a better act for their second show that night, they would be fired.  Huddling in the alley behind the club, Lewis and Martin agreed to “go for broke”, they divided their act between songs, skits, and ad-libbed material.  Martin sang and Lewis dressed as a busboy, dropping plates and making a shambles of Martin’s performance and the club’s decorum until Lewis was chased from the room as Martin pelted him with bread rolls.

They performed slapstick, reeled off old vaudeville jokes and did whatever else popped into their heads.  The audience laughed.  This success led to a series of well-paying engagements on the Eastern seaboard, culminating in a run at New York’s Copacabana.  The act consisted of Lewis interrupting and heckling Martin while he was trying to sing, with the two ultimately chasing each other around the stage.  The secret, both said, is that they ignored the audience and played to each other.  The team made its TV debut on the first broadcast of CBS-TV network’s The Ed Sullivan Show (then called The Toast Of The Town) on June 20, 1948, with composers Rodgers and Hammerstein also appearing.  Hoping to improve their act, the two hired young comedy writers Norman Lear and Ed Simmons to write their bits.  With the assistance of both Lear and Simmons, the two would take their act beyond nightclubs.

A radio series began in 1949, the year Martin and Lewis signed with Paramount producer Hal B. Wallis as comedy relief for the movie My Friend Irma.  Their agent, Abby Greshler, negotiated one of Hollywood’s best deals: although they received only $75,000 between them for their films with Wallis, Martin and Lewis were free to do one outside film a year, which they would co-produce through their own York Productions.

They also controlled their club, record, radio, and television appearances, and through these, they earned millions of dollars. In Dean & Me, Lewis calls Martin one of the great comic geniuses of all time.  They were friends, as well, with Lewis acting as best man when Martin remarried in 1949.  But harsh comments from critics, as well as frustration with the similarity of Martin and Lewis movies, which producer Hal Wallis refused to change, led to Martin’s dissatisfaction.  He put less enthusiasm into the work, leading to escalating arguments with Lewis.  Martin told his partner he was “nothing to me but a dollar sign”.  The act broke up in 1956, ten years to the day from the first teaming.

Solo Career

Martin’s first solo film, Ten Thousand Bedrooms (1957), was a box-office failure.  Although Volare reached number fifteen in the U.S. and number 2 in the UK, the era of the pop crooner was waning with the advent of rock and roll.  Martin wanted to become a dramatic actor, known for more than slapstick comedy films.  Though offered a fraction of his former salary to co-star in a war drama, The Young Lions (1958), his part would be with Marlon Brando and Montgomery Clift.  Tony Randall already had the part, but talent agency MCA realized that with this film, Martin would become a triple threat: they could make money from his work in nightclubs, films, and records.  Randall was paid off to relinquish the role, Martin replaced him and the film turned out to be the beginning of Martin’s comeback.  Martin starred alongside Frank Sinatra for the first time in the Vincente Minnelli drama, Some Came Running (1958).  By the mid-1960s, Martin was a movie, recording, television, and nightclub star.  Martin was acclaimed as Dude in Rio Bravo (1959), directed by Howard Hawks and also starring John Wayne and singer Ricky Nelson.  He teamed again with Wayne in The Sons of Katie Elder (1965), cast as brothers.  In 1960, Martin was cast in the film version of the Judy Holliday stage musical comedy Bells Are Ringing.  He won a Golden Globe nomination for his performance in the 1960 film comedy Who Was That Lady? but continued to seek dramatic roles, portraying a Southern politician in 1961’s Ada, and starring in 1963’s screen adaptation of an intense stage drama, Toys in the Attic, opposite Geraldine Page, as well as in 1970’s drama Airport, a huge box-office success.

Sinatra and he teamed up for several more movies, the crime caper Ocean’s 11, the musical Robin and the 7 Hoods, and the Western comedies Sergeants 3 and 4 for Texas, often with their Rat Pack pals such as Sammy Davis, Jr., Peter Lawford, and Joey Bishop, as well as a romantic comedy, Marriage on the Rocks.  Martin also co-starred with Shirley MacLaine in a number of films, including Some Came Running, Artists and Models, Career, All in a Night’s Work, and What a Way to Go! He played a satiric variation of his own womanizing persona as Las Vegas singer “Dino” in Billy Wilder’s comedy Kiss Me, Stupid (1964) with Kim Novak, and he poked fun at his image in films such as the Matt Helm spy spoofs of the 1960’s, in which he was a co-producer.  In the third Matt Helm film The Ambushers (1967), Helm, about to be executed, receives a last cigarette and tells the provider, “I’ll remember you from the great beyond,” continuing sotto voce, “somewhere around Steubenville, I hope.”

Read more about Solo Career here.

The Rat Pack

As Martin’s solo career grew, he and Frank Sinatra became friends.  In the late 1950s and early 1960s, Martin and Sinatra, along with friends Joey Bishop, Peter Lawford, and Sammy Davis Jr. formed the Rat Pack, so-called after an earlier group of social friends, the Holmby Hills Rat Pack centred on Humphrey Bogart and Lauren Bacall, of which Sinatra had been a member.  The Martin-Sinatra-Davis-Lawford-Bishop group referred to themselves as “The Summit” or “The Clan” and never as “The Rat Pack”, although this has remained their identity in popular imagination.  The men made films together, formed part of the Hollywood social scene, and were politically influential (through Lawford’s marriage to Patricia Kennedy, sister of President John F. Kennedy).

The Rat Pack was legendary for its Las Vegas Strip performances.  For example, the marquee at the Sands Hotel might read “DEAN MARTIN—MAYBE FRANK—MAYBE SAMMY.”  Their appearances were valuable because the city would flood with wealthy gamblers.  Their act (always in tuxedo) consisted of each singing individual numbers, duets and trios, along with seemingly improvised slapstick and chatter.  In the socially charged 1960s, their jokes revolved around adult themes, such as Sinatra’s womanizing and Martin’s drinking, as well as Davis’s race and religion.  Sinatra and Martin supported the civil rights movement and refused to perform in clubs that would not allow African-American or Jewish performers.  Posthumously, the Rat Pack has experienced a popular revival, inspiring the George Clooney / Brad Pitt Ocean’s Trilogy.

The Dean Martin Show

In 1965, Martin launched his weekly NBC comedy-variety series, The Dean Martin Show, which ran for 264 episodes until 1974.  He won a Golden Globe Award for Best Actor – Television Series Musical or Comedy in 1966 and was nominated again the following three years.  The show exploited his image as a carefree boozer.  Martin capitalized on his laid-back persona of the half-drunk crooner, hitting on women with remarks that would get anyone else slapped, and making snappy if slurred remarks about fellow celebrities during his roasts.  During an interview on the British TV documentary Wine, Women and Song, aired in 1983, he stated, perhaps tongue-in-cheek, that he had someone record them on cassette tape so he could listen to them.  His TV show was a success.  The show’s loose format featured quick-witted improvisation from Martin and his weekly guests.  This prompted a battle between Martin and NBC censors, who insisted on more scrutiny of the content.  He later had trouble with NBC for his off-the-cuff use of obscene Italian phrases, which brought complaints from viewers who spoke the language.  The show was often in the Top Ten.  Martin, appreciative of the show’s producer, his friend Greg Garrison, made a handshake deal giving Garrison, a pioneer TV producer in the 1950s, 50% of the show.  However, the validity of that ownership is the subject of a lawsuit brought by NBCUniversal.

Despite Martin’s reputation as a drinker—perpetuated via his vanity license plate “DRUNKY”—his alcohol use was quite disciplined.  He was often the first to call it a night, and when not on tour or on a film location, liked to go home to see his wife and children.  He borrowed the lovable-drunk shtick from Joe E. Lewis, but his convincing portrayals of heavy boozers in Some Came Running and Howard Hawks’ Rio Bravo led to unsubstantiated claims of alcoholism.  Martin starred in and co-produced four Matt Helm superspy comedy adventures during this time, as well as a number of Westerns.  By the early 1970s, The Dean Martin Show was still earning solid ratings, and although he was no longer a Top 40 hitmaker, his record albums continued to sell.  He found a way to make his passion for golf profitable by offering a signature line of golf balls and the Dean Martin Tucson Open was an event on golf’s PGA Tour from 1972 to 1975.  At his death, Martin was reportedly the single largest minority shareholder of RCA stock.

Now comfortable financially, Martin began reducing his schedule.  The final (1973 – 1974) season of his variety show was retooled into one of celebrity roasts, requiring less involvement.  In the roasts, Martin and his panel of pals made fun of a variety of popular entertainment, athletic, and political figures.  After the show’s cancellation, NBC continued to air The Dean Martin Celebrity Roast as a series of TV specials through 1984.

Later Career

For nearly a decade, Martin had recorded as many as four albums a year for Reprise Records.  Martin recorded his final Reprise album, Once in a While in 1974, which was not issued until 1978.  His final recordings were made for Warner Bros. Records. The Nashville Sessions was released in 1983, from which he had a hit with “(I Think That I Just Wrote) My First Country Song”, which was recorded with Conway Twitty and made a respectable showing on the country charts.  A follow-up single, “L.A. Is My Home” / “Drinking Champagne”, came in 1985. The 1974 film drama Mr. Ricco marked Martin’s final starring role, in which he played a criminal defence lawyer.  He played a featured role in the 1981 comedy The Cannonball Run and its sequel, both starring Burt Reynolds.

In 1972, he filed for divorce from his second wife, Jeanne.  A week later, his business partnership with the Riviera hotel in Las Vegas dissolved amid reports of the casino’s refusal to agree to Martin’s request to perform only once a night.  He joined the MGM Grand Hotel and Casino, where he was the featured performer on the hotel’s opening night of December 23, 1973, and his contract required him to star in a film (Mr. Ricco) for Metro-Goldwyn-Mayer studios.  Less than a month after his second marriage had dissolved, Martin was 55 when he married 26-year-old Catherine Hawn, on April 25, 1973.  Hawn had been the receptionist at the chic Gene Shacove hair salon in Beverly Hills.  They divorced on November 10, 1976.  He was also briefly engaged to Gail Renshaw, Miss World–U.S.A. 1969.  Eventually, Martin reconciled with Jeanne, though they never remarried.

Martin also made a public reconciliation with Lewis on his partner’s Labor Day telethon, benefiting the Muscular Dystrophy Association, in September 1976.  Sinatra shocked Lewis by bringing Martin out on stage and as the two men embraced, the audience gave them a standing ovation and the phones lit up, resulting in one of the telethon’s most profitable years up to that time.  Lewis later reported the event was one of the three most memorable of his life.  Lewis quipped, “So, you working?” Martin, playing drunk, replied that he was appearing “at the ‘Meggum'” (meaning the MGM Grand Hotel).  This, with the death of Martin’s son Dean Paul Martin more than a decade later, helped bring the two men together.  They maintained a quiet friendship, but only performed again once, in 1989, on Martin’s 72nd birthday.

Martin returned to films briefly with appearances in the star-laden, critically panned but commercially successful The Cannonball Run and its sequel Cannonball Run II.  He also had a minor hit single with Since I Met You Baby and made his first music video, which appeared on MTV and was created by Martin’s youngest son, Ricci.  On March 21, 1987, Martin’s son, actor Dean Paul Martin (formerly Dino of the 1960s “teeny-bopper” rock group Dino, Desi & Billy), died when his F-4 Phantom II jet fighter crashed while flying with the California Air National Guard.  Martin’s grief over his son’s death left him depressed and demoralized. Later, a tour with Davis and Sinatra in 1988, undertaken in part to help Martin recover, sputtered.

Martin, who responded best to a club audience, felt lost in the huge stadiums they were performing in at Sinatra’s insistence, and he was not interested in drinking until dawn after performances.  His final Vegas shows were at Bally’s Hotel in 1991.  At Bally’s, he had his final reunion with Lewis on his 72nd birthday.  Martin’s last two TV appearances involved tributes to his former Rat Pack members. On December 8, 1989, he joined stars in Sammy Davis Jr’s 60th anniversary celebration, which aired a few weeks before Davis died from throat cancer.  In December 1990, Martin congratulated Sinatra on his 75th birthday special.

Read more about Dean Martin here.

The above articles were sourced from Wikipedia and are subject to change.

Favourite Dean Martin Songs Index

This list does not contain Christmas songs.   You can find Christmas music from Dean Martin here.

The links below will take you to YouTube

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Notes And Links

The image shown at the top of this page is in the Public Domain via Wikipedia.

Music: Frank Sinatra

Image © of Capital Records via Wikipedia

I have grown up listening to the Rat Pack and especially Frank Sinatra. He was so cool and I love his music. 

There is an index at the bottom of the page containing some of my favourite songs by him.  

About Frank Sinatra

Francis Albert Sinatra was an American singer and actor who is generally viewed as one of the greatest musical artists of the 20th century.  He is one of the best-selling music artists of all time, having sold an estimated 150 million records worldwide.

Born to Italian immigrants in Hoboken, New Jersey, Sinatra was greatly influenced by the intimate, easy-listening vocal style of Bing Crosby and began his musical career in the swing era with bandleaders Harry James and Tommy Dorsey.  Sinatra found success as a solo artist after he signed with Columbia Records in 1943, becoming the idol of the “bobby soxers”.  Sinatra released his debut album, The Voice of Frank Sinatra, in 1946.  However, by the early 1950s, his professional career had stalled and he turned to Las Vegas, where he became one of its best-known residency performers as part of the Rat Pack.  His career was reborn in 1953 with the success of the film From Here to Eternity, his performance subsequently earning him an Academy Award, and a Golden Globe Award for Best Supporting Actor.  Sinatra then released several critically lauded albums, some of which are retrospectively noted as being among the first “concept albums”, including In the Wee Small Hours (1955), Songs for Swingin’ Lovers! (1956), Come Fly with Me (1958), Only the Lonely (1958), No One Cares (1959), and Nice ‘n’ Easy (1960).

Sinatra left Capitol in 1960 to start his own record label, Reprise Records and released a string of successful albums.  In 1965, he recorded the retrospective album September of My Years and starred in the Emmy-winning television special Frank Sinatra: A Man and His Music.  After releasing Sinatra at the Sands, recorded at the Sands Hotel and Casino in Vegas with frequent collaborator Count Basie in early 1966, the following year he recorded one of his most famous collaborations with Tom Jobim, the album Francis Albert Sinatra & Antonio Carlos Jobim.  It was followed by 1968’s Francis A. & Edward K. with Duke Ellington. Sinatra retired for the first time in 1971 but came out of retirement two years later.  He recorded several albums and resumed performing at Caesars Palace, and released “New York, New York” in 1980.  Using his Las Vegas shows as a home base, he toured both within the United States and internationally until shortly before his death in 1998.

Sinatra forged a highly successful career as a film actor.  After winning an Academy Award for From Here to Eternity, he starred in The Man with the Golden Arm (1955), and in The Manchurian Candidate (1962).  He appeared in various musicals such as On the Town (1949), Guys and Dolls (1955), High Society (1956), and Pal Joey (1957), winning another Golden Globe for the latter.  Toward the end of his career, he frequently played detectives, including the title character in Tony Rome (1967).  Sinatra would later receive the Golden Globe Cecil B. DeMille Award in 1971.  On television, The Frank Sinatra Show began on ABC in 1950, and he continued to make appearances on television throughout the 1950s and 1960s.  Sinatra was also heavily involved with politics from the mid-1940s and actively campaigned for presidents such as Franklin D. Roosevelt, Harry S. Truman, John F. Kennedy and Ronald Reagan.  He was investigated by the FBI for his alleged relationship with the Mafia.

While Sinatra never learned how to read music, he worked very hard from a young age to improve his abilities in all aspects of music.  A perfectionist, renowned for his dress sense and performing presence, he always insisted on recording live with his band.  His bright blue eyes earned him the popular nickname “Ol’ Blue Eyes”.  He led a colourful personal life and was often involved in turbulent affairs with women, such as with his second wife Ava Gardner.  He later married Mia Farrow in 1966 and Barbara Marx in 1976.  Sinatra had several violent confrontations, usually with journalists he felt had crossed him, or work bosses with whom he had disagreements.  He was honoured at the Kennedy Center Honors in 1983, was awarded the Presidential Medal of Freedom by Ronald Reagan in 1985, and the Congressional Gold Medal in 1997.  Sinatra was also the recipient of eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and the Grammy Lifetime Achievement Award.  He was included in Time magazine’s compilation of the 20th century’s 100 most influential people.  After Sinatra’s death, American music critic Robert Christgau called him “the greatest singer of the 20th century”, and he continues to be seen as an iconic figure.

Frank Sinatra’s Early Life 

Francis Albert Sinatra was born on December 12, 1915, in an upstairs tenement at 415 Monroe Street in Hoboken, New Jersey, the only child of Italian immigrants Natalina “Dolly” Garaventa and Antonino Martino “Marty” Sinatra.  Sinatra weighed 13.5 pounds (6.1 kg) at birth and had to be delivered with the aid of forceps, which caused severe scarring to his left cheek, neck, and ear, and perforated his eardrum—damage that remained for life.  Due to his injuries at birth, his baptism at St. Francis Church in Hoboken was delayed until April 2, 1916.  A childhood operation on his mastoid bone left major scarring on his neck, and during adolescence, he suffered from cystic acne that further scarred his face and neck.  Sinatra was raised in the Roman Catholic church.

Sinatra’s mother was energetic and driven, and biographers believe that she was the dominant factor in the development of her son’s personality traits and self-confidence.  Sinatra’s fourth wife Barbara would later claim that Dolly was abusive to him when he was a child, and “knocked him around a lot”.  Dolly became influential in Hoboken and in local Democratic Party circles.  She worked as a midwife, earning $50 for each delivery, and according to Sinatra biographer Kitty Kelley, also ran an illegal abortion service that catered to Italian Catholic girls, for which she was nicknamed “Hatpin Dolly”.  She also had a gift for languages and served as a local interpreter.

Sinatra’s illiterate father was a bantamweight boxer who fought under the name Marty O’Brien.  He later worked for 24 years at the Hoboken Fire Department, working his way up to captain.  Sinatra spent much time at his parents’ tavern in Hoboken, working on his homework and occasionally singing a song on top of the player piano for spare change.  During the Great Depression, Dolly provided money to her son for outings with friends and to buy expensive clothes, resulting in neighbours describing him as the “best-dressed kid in the neighbourhood”.  Excessively thin and small as a child and young man, Sinatra’s skinny frame later became a staple of jokes during stage shows.

Sinatra developed an interest in music, particularly big band jazz, at a young age.  He listened to Gene Austin, Rudy Vallée, Russ Colombo, and Bob Eberly, and idolized Bing Crosby.  Sinatra’s maternal uncle, Domenico, gave him a ukulele for his 15th birthday, and he began performing at family gatherings.  Sinatra attended David E. Rue Jr. High School from 1928, and A. J. Demarest High School (since renamed Hoboken High School) in 1931, where he arranged bands for school dances.  He left without graduating, having attended only 47 days before being expelled for “general rowdiness”.  To please his mother, he enrolled at Drake Business School but departed after 11 months.  Dolly found Sinatra work as a delivery boy at the Jersey Observer newspaper, where his godfather Frank Garrick worked, and after that, Sinatra was a riveter at the Tietjen and Lang shipyard.  He performed in local Hoboken social clubs such as The Cat’s Meow and The Comedy Club and sang for free on radio stations such as WAAT in Jersey City.  In New York, Sinatra found jobs singing for his supper or for cigarettes.  To improve his speech, he began taking elocution lessons for a dollar each from vocal coach John Quinlan, who was one of the first people to notice his impressive vocal range.

Frank Sinatra’s Music Career

Hoboken Four, Harry James, And Tommy Dorsey (1935 – 1939)

Sinatra began singing professionally as a teenager, but he learned music by ear and never learned to read music.  He got his first break in 1935 when his mother persuaded a local singing group, the 3 Flashes, to let him join.  Fred Tamburro, the group’s baritone, stated that “Frank hung around us like we were gods or something”, admitting that they only took him on board because he owned a car and could chauffeur the group around.  Sinatra soon learned they were auditioning for the Major Bowes Amateur Hour show, and “begged” the group to let him in on the act.  With Sinatra, the group became known as the Hoboken Four, and passed an audition from Edward Bowes to appear on the Major Bowes Amateur Hour show.  They each earned $12.50 for the appearance, and ended up attracting 40,000 votes and won first prize—a six-month contract to perform on stage and radio across the United States.  Sinatra quickly became the group’s lead singer, and, much to the jealousy of his fellow group members, garnered most of the attention from girls.  Due to the success of the group, Bowes kept asking for them to return, disguised under different names, varying from “The Secaucus Cockamamies” to “The Bayonne Bacalas”.

In 1938, Sinatra found employment as a singing waiter at a roadhouse called “The Rustic Cabin” in Englewood Cliffs, New Jersey, for which he was paid $15 a week.  The roadhouse was connected to the WNEW radio station in New York City, and he began performing with a group live during the Dance Parade show.  Despite the low salary, Sinatra felt that this was the break he was looking for, and boasted to friends that he was going to “become so big that no one could ever touch him”.  In March 1939, saxophone player Frank Mane, who knew Sinatra from Jersey City radio station WAAT where both performed on live broadcasts, arranged for him to audition and record “Our Love”, his first solo studio recording.  In June, bandleader Harry James, who had heard Sinatra sing on “Dance Parade”, signed a two-year contract of $75 a week one evening after a show at the Paramount Theatre in New York.  It was with the James band that Sinatra released his first commercial record “From the Bottom of My Heart” in July.  No more than 8,000 copies of the record were sold, and further records released with James through 1939, such as “All or Nothing at All”, also had weak sales on their initial release.  Thanks to his vocal training, Sinatra could now sing two tones higher, and developed a repertoire that included songs such as “My Buddy”, “Willow Weep for Me”, “It’s Funny to Everyone but Me”, “Here Comes the Night”, “On a Little Street in Singapore”, “Ciribiribin”, and “Every Day of My Life”.

Sinatra became increasingly frustrated with the status of the Harry James band, feeling that he was not achieving the major success and acclaim he was looking for. His pianist and close friend Hank Sanicola persuaded him to stay with the group, but in November 1939 he left James to replace Jack Leonard as the lead singer of the Tommy Dorsey band.  Sinatra earned $125 a week, appearing at the Palmer House in Chicago, and James released Sinatra from his contract.  On January 26, 1940, he made his first public appearance with the band at the Coronado Theatre in Rockford, Illinois, opening the show with “Stardust”.  Dorsey recalled: “You could almost feel the excitement coming up out of the crowds when the kid stood up to sing.  Remember, he was no matinée idol.  He was just a skinny kid with big ears.  I used to stand there so amazed I’d almost forget to take my own solos”.  Dorsey was a major influence on Sinatra and became a father figure.  Sinatra copied Dorsey’s mannerisms and traits, becoming a demanding perfectionist like him, even adopting his hobby of toy trains.  He asked Dorsey to be godfather to his daughter Nancy in June 1940. Sinatra later said that “The only two people I’ve ever been afraid of are my mother and Tommy Dorsey”.  Though Kelley says that Sinatra and drummer Buddy Rich were bitter rivals, other authors state that they were friends and even roommates when the band was on the road, but professional jealousy surfaced as both men wanted to be considered the star of Dorsey’s band.  Later, Sinatra helped Rich form his own band with a $25,000 loan and provided financial help to Rich during times of the drummer’s serious illness.

Read more about Hoboken Four, Harry James, And Tommy Dorsey (1935 – 1939) here.

Onset Of Sinatramania And Role In World War II (1942 – 1945)

“Perfectly simple: It was the war years and there was a great loneliness, and I was the boy in every corner drugstore, the boy who’d gone off drafted to the war. That’s all.” – Frank Sinatra on his popularity with young women.

By May 1941, Sinatra topped the male singer polls in Billboard and DownBeat magazines.  His appeal to bobby soxers, as teenage girls of that time were called, revealed a whole new audience for popular music, which had been recorded mainly for adults up to that time.  The phenomenon became officially known as “Sinatramania” after his “legendary opening” at the Paramount Theatre in New York on December 30, 1942.  According to Nancy Sinatra, Jack Benny later said, “I thought the goddamned building was going to cave in. I never heard such a commotion… All this for a fellow I never heard of.”  Sinatra performed for four weeks at the theatre, his act following the Benny Goodman orchestra, after which his contract was renewed for another four weeks by Bob Weitman due to his popularity.  He became known as “Swoonatra” or “The Voice”, and his fans “Sinatratics”.  They organized meetings and sent masses of letters of adoration, and within a few weeks of the show, some 1000 Sinatra fan clubs had been reported across the US.  Sinatra’s publicist, George Evans, encouraged interviews and photographs with fans and was the man responsible for depicting Sinatra as a vulnerable, shy, Italian–American with a rough childhood who made good.  When Sinatra returned to the Paramount in October 1944 only 250 persons left the first show, and 35,000 fans left outside caused a near riot, known as the Columbus Day Riot, outside the venue because they were not allowed in.  Such was the bobby soxer devotion to Sinatra that they were known to write Sinatra’s song titles on their clothing, bribe hotel maids for an opportunity to touch his bed, and accost his person in the form of stealing clothing he was wearing, most commonly his bow-tie.

Sinatra signed with Columbia Records as a solo artist on June 1, 1943, during the 1942–44 musicians’ strike. Columbia Records re-released Harry James and Sinatra’s August 1939 version of “All or Nothing at All”, which reached number 2 on June 2 and was on the best-selling list for 18 weeks.  He initially had great success and performed on the radio on Your Hit Parade from February 1943 until December 1944, and on stage.  Columbia wanted new recordings of their growing star as quickly as possible, so Alec Wilder was hired as an arranger and conductor for several sessions with a vocal group called the Bobby Tucker Singers.  These first sessions were on June 7, June 22, August 5, and November 10, 1943.  Of the nine songs recorded during these sessions, seven charted on the best-selling list.  That year he also made his first solo nightclub appearance at New York’s Riobamba, and a successful concert in the Wedgewood Room of the prestigious Waldorf-Astoria New York that year secured his popularity in New York high society.  Sinatra released “You’ll Never Know”, “Close to You”, “Sunday, Monday, or Always” and “People Will Say We’re In Love” as singles.  By the end of 1943, he was more popular in a DownBeat poll than Bing Crosby, Perry Como, Bob Eberly, and Dick Haymes.

Sinatra did not serve in the military during World War II.  On December 11, 1943, he was officially classified 4-F (“Registrant not acceptable for military service”) by his draft board because of a perforated eardrum.  However, U.S. Army files reported that Sinatra was “not acceptable material from a psychiatric viewpoint”, but his emotional instability was hidden to avoid “undue unpleasantness for both the selectee and the induction service”.  Briefly, there were rumours reported by columnist Walter Winchell that Sinatra paid $40,000 to avoid the service, but the FBI found this to be without merit.

Toward the end of the war, Sinatra entertained the troops during several successful overseas USO tours with comedian Phil Silvers.  During one trip to Rome, he met the Pope, who asked him if he was an operatic tenor.  Sinatra worked frequently with the popular Andrews Sisters in radio in the 1940s, and many USO shows were broadcast to troops via the Armed Forces Radio Service (AFRS).  In 1944 Sinatra released “I Couldn’t Sleep a Wink Last Night” as a single and recorded his own version of Crosby’s “White Christmas”, and the following year he released “I Dream of You (More Than You Dream I Do)”, “Saturday Night (Is the Loneliest Night of the Week)”, “Dream”, and “Nancy (With the Laughing Face)” as singles.

Columbia Years And Career Slump (1946 – 1952)

Despite being heavily involved in political activity in 1945 and 1946, in those two years, Sinatra sang on 160 radio shows, recorded 36 times, and shot four films.  By 1946 he was performing on stage up to 45 times a week, singing up to 100 songs daily, and earning up to $93,000 a week.

In 1946 Sinatra released “Oh! What it Seemed to Be”, “Day by Day”, “They Say It’s Wonderful”, “Five Minutes More”, and “The Coffee Song” as singles, and launched his first album, The Voice of Frank Sinatra, which reached No. 1 on the Billboard chart.  William Ruhlmann of AllMusic wrote that Sinatra “took the material very seriously, singing the love lyrics with utter seriousness”, and that his “singing and the classically influenced settings gave the songs unusual depth of meaning”.  He was soon selling 10 million records a year.  Such was Sinatra’s command at Columbia that his love of conducting was indulged with the release of the set Frank Sinatra Conducts the Music of Alec Wilder, an offering unlikely to appeal to Sinatra’s core fanbase at the time, which consisted of teenage girls.  The following year he released his second album, Songs by Sinatra, featuring songs of a similar mood and tempo such as Irving Berlin’s “How Deep is the Ocean?” and Harold Arlen’s and Jerome Kern’s “All The Things You Are”.  “Mam’selle”, composed by Edmund Goulding with lyrics by Mack Gordon for the film The Razor’s Edge (1946), was released as a single.  Sinatra had competition; versions by Art Lund, Dick Haymes, Dennis Day, and The Pied Pipers also reached the top ten of the Billboard charts.  In December he recorded “Sweet Lorraine” with the Metronome All-Stars, featuring talented jazz musicians such as Coleman Hawkins, Harry Carney and Charlie Shavers, with Nat King Cole on piano, in what Charles L. Granata describes as “one of the highlights of Sinatra’s Columbia epoch”.

Sinatra’s third album, Christmas Songs by Sinatra, was originally released in 1948 as a 78 rpm album set, and a 10″ LP record was released two years later.  When Sinatra was featured as a priest in The Miracle of the Bells, due to press negativity surrounding his alleged Mafia connections at the time, it was announced to the public that Sinatra would donate his $100,000 in wages from the film to the Catholic Church.  By the end of 1948, Sinatra had slipped to fourth on DownBeats annual poll of most popular singers (behind Billy Eckstine, Frankie Laine, and Bing Crosby).  In the following year he was pushed out of the top spots in polls for the first time since 1943.  Frankly Sentimental (1949) was panned by DownBeat, who commented that “for all his talent, it seldom comes to life”.

Though “The Hucklebuck” reached the top ten, it was his last single release under the Columbia label.  Sinatra’s last two albums with Columbia, Dedicated to You and Sing and Dance with Frank Sinatra, were released in 1950.  Sinatra would later feature a number of the Sing and Dance with Frank Sinatra album’s songs, including “Lover”, “It’s Only a Paper Moon”, “It All Depends on You”, on his 1961 Capitol release, Sinatra’s Swingin’ Session!!!

Read more about Columbia Years And Career Slump (1946 – 1952) here.

Career Revival And The Capitol Years (1953 – 1962)

The release of the film From Here to Eternity in August 1953 marked the beginning of a remarkable career revival.   Tom Santopietro notes that Sinatra began to bury himself in his work, with an “unparalleled frenetic schedule of recordings, movies and concerts”, in what authors Anthony Summers and Robbyn Swan describe as “a new and brilliant phase”.  On March 13, 1953, Sinatra met with Capitol Records vice president Alan Livingston and signed a seven-year recording contract.  His first session for Capitol took place at KHJ studios at Studio C, 5515 Melrose Avenue in Los Angeles, with Axel Stordahl conducting.  The session produced four recordings, including “I’m Walking Behind You”, Sinatra’s first Capitol single.  After spending two weeks on location in Hawaii filming From Here to Eternity, Sinatra returned to KHJ on April 30 for his first recording session with Nelson Riddle, an established arranger and conductor at Capitol who was Nat King Cole’s musical director.  After recording the first song, “I’ve Got the World on a String”, Sinatra offered Riddle a rare expression of praise, “Beautiful!”, and after listening to the playbacks, he could not hide his enthusiasm, exclaiming, “I’m back, baby, I’m back!”

In subsequent sessions in May and November 1953, Sinatra and Riddle developed and refined their musical collaboration, with Sinatra providing specific guidance on the arrangements.  Sinatra’s first album for Capitol, Songs for Young Lovers, was released on January 4, 1954, and included “A Foggy Day”, “I Get a Kick Out of You”, “My Funny Valentine”, “Violets for Your Furs” and “They Can’t Take That Away from Me”, songs which became staples of his later concerts.  That same month, Sinatra released the single “Young at Heart”, which reached No. 2 and was awarded Song of the Year.  In March, he recorded and released the single “Three Coins in the Fountain”, a “powerful ballad” that reached No. 4.  Sinatra’s second album with Riddle, Swing Easy!, which reflected his “love for the jazz idiom” according to Granata, was released on August 2 of that year and included “Just One of Those Things”, “Taking a Chance on Love”, “Get Happy”, and “All of Me”.  Swing Easy! was named Album of the Year by Billboard, and he was also named “Favorite Male Vocalist” by Billboard, DownBeat, and Metronome that year.  Sinatra came to consider Riddle “the greatest arranger in the world”, and Riddle, who considered Sinatra “a perfectionist”, offered equal praise of the singer, observing, “It’s not only that his intuitions as to tempi, phrasing, and even configuration are amazingly right, but his taste is so impeccable… there is still no one who can approach him.”

In 1955 Sinatra released In the Wee Small Hours, his first 12″ LP, featuring songs such as “In the Wee Small Hours of the Morning”, “Mood Indigo”, “Glad to Be Unhappy” and “When Your Lover Has Gone”. According to Granata it was the first concept album of his to make a “single persuasive statement”, with an extended program and “melancholy mood”.  Sinatra embarked on his first tour of Australia the same year.  Another collaboration with Riddle resulted in the development of Songs for Swingin’ Lovers!, sometimes seen as one of his best albums, which was released in March 1956.  It features a recording of “I’ve Got You Under My Skin” by Cole Porter, something which Sinatra paid meticulous care to, taking a reported 22 takes to perfect.

His February 1956 recording sessions inaugurated the studios at the Capitol Records Building, complete with a 56-piece symphonic orchestra.  According to Granata his recordings of “Night and Day”, “Oh! Look at Me Now” and “From This Moment On” revealed “powerful sexual overtones, stunningly achieved through the mounting tension and release of Sinatra’s best-teasing vocal lines”, while his recording of “River, Stay ‘Way from My Door” in April demonstrated his “brilliance as a syncopational improviser”. Riddle said that Sinatra took “particular delight” in singing “The Lady is a Tramp”, commenting that he “always sang that song with a certain amount of salaciousness”, making “cue tricks” with the lyrics.  His penchant for conducting was displayed again in 1956’s Frank Sinatra Conducts Tone Poems of Color, an instrumental album that has been interpreted to be a catharsis to his failed relationship with Gardner.  Also that year, Sinatra sang at the Democratic National Convention and performed with The Dorsey Brothers for a week soon afterwards at the Paramount Theatre.

Read more about Career Revival And The Capitol Years (1953 – 1962) here.

Reprise Years (1961 – 1981)

Sinatra grew discontented at Capitol and fell into a feud with Alan Livingston, which lasted over six months.  His first attempt at owning his own label was with his pursuit of buying declining jazz label, Verve Records, which ended once an initial agreement with Verve founder, Norman Granz, “failed to materialize.”  He decided to form his own label, Reprise Records and, in an effort to assert his new direction, temporarily parted with Riddle, May and Jenkins, working with other arrangers such as Neil Hefti, Don Costa, and Quincy Jones.  Sinatra built the appeal of Reprise Records as one in which artists were promised creative control over their music, as well as a guarantee that they would eventually gain “complete ownership of their work, including publishing rights.”  Under Sinatra, the company developed into a music industry “powerhouse”, and he later sold it for an estimated $80 million.  His first album on the label, Ring-a-Ding-Ding! (1961), was a major success, peaking at No.4 on Billboard.  The album was released in February 1961, the same month that Reprise Records released Ben Webster’s The Warm Moods, Sammy Davis Jr.’s The Wham of Sam, Mavis River’s Mavis and Joe E. Lewis’s It is Now Post Time.  During the initial years of Reprise, Sinatra was still under contract to record for Capitol, completing his contractual commitment with the release of Point of No Return, recorded over a two-day period on September 11 and 12, 1961.

In 1962, Sinatra released Sinatra and Strings, a set of standard ballads arranged by Don Costa, which became one of the most critically acclaimed works of Sinatra’s entire Reprise period.  Frank Jr., who was present during the recording, noted the “huge orchestra”, which Nancy Sinatra stated “opened a whole new era” in pop music, with orchestras getting bigger, embracing a “lush string sound”.  Sinatra and Count Basie collaborated for the album Sinatra-Basie the same year, a popular and successful release that prompted them to rejoin two years later for the follow-up It Might as Well Be Swing, arranged by Quincy Jones.  The two became frequent performers together, and appeared at the Newport Jazz Festival in 1965.  Also in 1962, as the owner of his own record label, Sinatra was able to step on the podium as conductor again, releasing his third instrumental album Frank Sinatra Conducts Music from Pictures and Plays.

In 1963, Sinatra reunited with Nelson Riddle for The Concert Sinatra, an ambitious album featuring a 73-piece symphony orchestra arranged and conducted by Riddle.  The concert was recorded on a motion picture scoring soundstage with the use of multiple synchronized recording machines that employed an optical signal onto 35 mm film designed for movie soundtracks.  Granata considers the album to have been “impeachable”, “one of the very best of the Sinatra-Riddle ballad albums”, in which Sinatra displayed an impressive vocal range, particularly in “Ol’ Man River”, in which he darkened the hue.

In 1964 the song “My Kind of Town” was nominated for the Academy Award for Best Original Song.  Sinatra released Softly, as I Leave You, and collaborated with Bing Crosby and Fred Waring on America, I Hear You Singing, a collection of patriotic songs recorded as a tribute to the assassinated President John F. Kennedy.  Sinatra increasingly became involved in charitable pursuits in this period.  In 1961 and 1962 he went to Mexico, with the sole purpose of putting on performances for Mexican charities, and in July 1964 he was present for the dedication of the Frank Sinatra International Youth Center for Arab and Jewish children in Nazareth.

Sinatra’s phenomenal success in 1965, coinciding with his 50th birthday, prompted Billboard to proclaim that he may have reached the “peak of his eminence”.   In June 1965, Sinatra, Sammy Davis Jr., and Dean Martin played live in St. Louis to benefit Dismas House, a prisoner rehabilitation and training centre with nationwide programs that in particular helped serve African Americans.  The Rat Pack concert, called The Frank Sinatra Spectacular, was broadcast live via satellite to numerous movie theatres across America.  The album September of My Years was released in September 1965 and went on to win the Grammy Award for best album of the year.  Granata considers the album to have been one of the finest of his Reprise years, “a reflective throwback to the concept records of the 1950s, and more than any of those collections distils everything that Frank Sinatra had ever learned or experienced as a vocalist”.  One of the album’s singles, “It Was a Very Good Year”, won the Grammy Award for Best Vocal Performance, Male. A career anthology, A Man and His Music followed in November, winning Album of the Year at the Grammys the following year.

In 1966 Sinatra released That’s Life, with both the single of “That’s Life” and the album becoming Top Ten hits in the US on Billboards pop charts.  Strangers in the Night went on to top the Billboard and UK pop singles charts, winning the award for Record of the Year at the Grammys.  Sinatra’s first live album, Sinatra at the Sands, was recorded during January and February 1966 at the Sands Hotel and Casino in Las Vegas.  Sinatra was backed by the Count Basie Orchestra, with Quincy Jones conducting.  Sinatra pulled out from the Sands the following year when he was driven out by its new owner Howard Hughes, after a fight.

Sinatra started 1967 with a series of recording sessions with Antônio Carlos Jobim.  He recorded one of his collaborations with Jobim, the Grammy-nominated album Francis Albert Sinatra & Antônio Carlos Jobim, which was one of the best-selling albums of the year, behind the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.  According to Santopietro the album “consists of an extraordinarily effective blend of bossa nova and slightly swinging jazz vocals, and succeeds in creating an unbroken mood of romance and regret”.  Writer Stan Cornyn wrote that Sinatra sang so softly on the album that it was comparable to the time that he suffered from a vocal haemorrhage in 1950.

Sinatra also released the album The World We Knew, which features a chart-topping duet of “Somethin’ Stupid” with daughter Nancy.  In December, Sinatra collaborated with Duke Ellington on the album Francis A. & Edward K..  According to Granata, the recording of Indian Summer” on the album was a favourite of Riddle’s, noting the “contemplative mood [which] is heightened by a Johnny Hodges alto sax solo that will bring a tear to your eye”.  With Sinatra in mind, singer-songwriter Paul Anka wrote the song “My Way”, using the melody of the French “Comme d’habitude” (“As Usual”), composed by Claude François and Jacques Revaux.  Sinatra recorded it in one take, just after Christmas 1968.  “My Way”, Sinatra’s best-known song on the Reprise label, was not an instant success, charting at No. 27 in the US and No. 5 in the UK, but it remained in the UK charts for 122 weeks, including 75 non-consecutive weeks in the Top 40, between April 1969 and September 1971, which was still a record in 2015.  Sinatra told songwriter Ervin Drake in the 1970s that he “detested” singing the song, because he believed audiences would think it was a “self-aggrandizing tribute”, professing that he “hated boastfulness in others”.

In an effort to maintain his commercial viability in the late 1960s, Sinatra would record works by Paul Simon (“Mrs. Robinson”), the Beatles (“Yesterday”), and Joni Mitchell (“Both Sides, Now”) in 1969.

Retirement And Return (1970 – 1981)

In 1970, Sinatra released Watertown, a critically acclaimed concept album, with music by Bob Gaudio (of the Four Seasons) and lyrics by Jake Holmes.  However, it sold a mere 30,000 copies that year and reached a peak chart position of 101.  He left Caesars Palace in September that year after an incident where executive Sanford Waterman pulled a gun on him.  He performed several charity concerts with Count Basie at the Royal Festival Hall in London.  On November 2, 1970, Sinatra recorded the last songs for Reprise Records before his self-imposed retirement, announced the following June at a concert in Hollywood to raise money for the Motion Picture and TV Relief Fund.  He gave a “rousing” performance of “That’s Life”, and finished the concert with a Matt Dennis and Earl Brent song, “Angel Eyes” which he had recorded on the Only The Lonely album in 1958.   He sang the last line.”‘Scuse me while I disappear.” The spotlight went dark and he left the stage.  He told LIFE journalist Thomas Thompson that “I’ve got things to do like the first thing is not to do anything at all for eight months… maybe a year”, while Barbara Sinatra later said that Sinatra had grown “tired of entertaining people, especially when all they really wanted were the same old tunes he had long ago become bored by”.  While he was in retirement, President Richard Nixon asked him to perform at a Young Voters Rally in anticipation of the upcoming campaign. Sinatra obliged and chose to sing “My Kind of Town” for the rally held in Chicago on October 20, 1972.

In 1973, Sinatra came out of his short-lived retirement with a television special and album.  The album, entitled Ol’ Blue Eyes Is Back, arranged by Gordon Jenkins and Don Costa, was a success, reaching number 13 on Billboard and number 12 in the UK.  The television special, Magnavox Presents Frank Sinatra, reunited Sinatra with Gene Kelly.  He initially developed problems with his vocal cords during the comeback due to a prolonged period without singing.  That Christmas he performed at the Sahara Hotel in Las Vegas, and returned to Caesars Palace the following month in January 1974, despite previously vowing to perform there again.  He began what Barbara Sinatra describes as a “massive comeback tour of the United States, Europe, the Far East and Australia”.  In July, while on the second tour of Australia, he caused an uproar by describing journalists there – who were aggressively pursuing his every move and pushing for a press conference – as “bums, parasites, fags, and buck-and-a-half hookers”.  After he was pressured to apologize, Sinatra instead insisted that the journalists apologize for “fifteen years of abuse I have taken from the world press”.  Union actions cancelled concerts and grounded Sinatra’s plane, essentially trapping him in Australia.  In the end, Sinatra’s lawyer, Mickey Rudin, arranged for Sinatra to issue a written conciliatory note and a final concert that was televised to the nation.  In October 1974 he appeared at New York City’s Madison Square Garden in a televised concert that was later released as an album under the title The Main Event – Live.  Backing him was bandleader Woody Herman and the Young Thundering Herd, who accompanied Sinatra on a European tour later that month.

In 1975, Sinatra performed in concerts in New York with Count Basie and Ella Fitzgerald, and at the London Palladium with Basie and Sarah Vaughan, and in Tehran at Aryamehr Stadium, giving 140 performances in 105 days.  In August he held several consecutive concerts at Lake Tahoe together with the newly-risen singer John Denver, who became a frequent collaborator.  Sinatra had recorded Denver’s “Leaving on a Jet Plane” and “My Sweet Lady” for Sinatra & Company (1971), and according to Denver, his song “A Baby Just Like You” was written at Sinatra’s request for his new grandchild, Angela.  During the Labor Day weekend held in 1976, Sinatra was responsible for reuniting old friends and comedy partners Dean Martin and Jerry Lewis for the first time in nearly twenty years, when they performed at the “Jerry Lewis MDA Telethon”.  That year, the Friars Club selected him as the “Top Box Office Name of the Century”, and he was given the Scopus Award by the American Friends of the Hebrew University of Jerusalem in Israel and an honorary Doctor of Humane Letters from the University of Nevada.

Sinatra continued to perform at Caesars Palace in the late 1970’s and was performing there in January 1977 when his mother Dolly died in a plane crash on the way to see him.  He cancelled two weeks of shows and spent time recovering from the shock in Barbados.  In March, he performed in front of Princess Margaret at the Royal Albert Hall in London, raising money for the National Society for the Prevention of Cruelty to Children.  On March 14, he recorded with Nelson Riddle for the last time, recording the songs “Linda”, “Sweet Loraine”, and “Barbara”.  The two men had a major falling out, and later patched up their differences in January 1985 at a dinner organized for Ronald Reagan, when Sinatra asked Riddle to make another album with him.  Riddle was ill at the time and died that October before they had a chance to record.

In 1978, Sinatra filed a $1 million lawsuit against a land developer for using his name in the “Frank Sinatra Drive Center” in West Los Angeles.  During a party at Caesars in 1979, he was awarded the Grammy Trustees Award, while celebrating 40 years in show business and his 64th birthday.  That year, former President Gerald Ford awarded Sinatra the International Man of the Year Award, and he performed in front of the Egyptian pyramids for Anwar Sadat, which raised more than $500,000 for Sadat’s wife’s charities.

In 1980, Sinatra’s first album in six years was released, Trilogy: Past Present Future, a highly ambitious triple album that features an array of songs from both the pre-rock era and rock era.  It was the first studio album of Sinatra’s to feature his touring pianist at the time, Vinnie Falcone and was based on an idea by Sonny Burke.  The album garnered six Grammy nominations – winning for best liner notes – and peaked at number 17 on Billboard’s album chart, and spawned yet another song that would become a signature tune, “Theme from New York, New York”.  That year, as part of the Concert of the Americas, he performed in the Maracanã Stadium in Rio de Janeiro, Brazil, which broke records for the “largest live paid audience ever recorded for a solo performer”.   The following year, Sinatra built on the success of Trilogy with She Shot Me Down, an album that was praised for embodying the dark tone of his Capitol years.  Also in 1981, Sinatra was embroiled in controversy when he worked a ten-day engagement for $2 million in Sun City, in the internationally unrecognized Bophuthatswana, breaking a cultural boycott against apartheid-era South Africa.  President Lucas Mangope awarded Sinatra with the highest honour, the Order of the Leopard, and made him an honorary tribal chief.

Read more about Frank Sinatra here.

The above articles were sourced from Wikipedia and are subject to change.

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This list does not contain Christmas songs.   You can find Christmas music from Frank Sinatra here.

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