Connie Francis (born Concetta Rosa Maria Franconero, December 12, 1938) is anAmericanpop singer and the top-charting female vocalist of the late 1950s and early 1960s. Although her chart success waned in the second half of the 1960s, Francis remained a top concert draw. Despite several severe interruptions in her career, she is still active as a recording and performing artist.
Francis was born in the Italian Down Neck, or Ironbound, neighborhood ofNewark, New Jersey, the first child of George Franconero, Sr., and Ida Franconero (née Ferrari-di Vito),SPENDING her first years in a Brooklyn neighborhood on Utica Avenue/St. Marks Avenue before the family moved to New Jersey.
Growing up in an Italian-Jewish neighborhood, Francis became fluent in Yiddish, which would lead her to later record songs in Yiddish and Hebrew.
In her autobiography Who's Sorry Now?, published in 1984, Francis recalls that she was encouraged by her father to appear regularly at talentCONTESTS, pageants, and other neighborhood festivities from the age of four as a singer and accordion player.
During this time, Francis continued to perform at neighborhood festivities and talent shows (some of which were broadcast on television), appearing alternately as Concetta Franconero and Connie Franconero. Under the latter name, she also appeared on NBC's variety show Startime Kids between 1953 and 1955.
During the rehearsals for her appearance on Arthur Godfrey's Talent Scouts, Francis was advised by Godfrey to change her stage name to Connie Francis for the sake of easier pronunciation. Godfrey also told her to drop the accordion – advice she gladly followed, as she had begun to hate the large and heavy instrument. Around the same time, Francis took aJOB as a singer on demonstration records, which were brought to the attention of established singers and/or their management who would subsequently choose or decline to record the song for a professional commercial record.
1955–1957: Recording contract and a series of commercial failuresEdit
In 1955, Startime Kids went off the air. In May that same year, George Franconero Sr. and Francis' manager George ScheckRAISED MONEY for a recording session of four songs which they hoped to sell to a major record company under Francis' own name. The story goes that every record label they tried turned her down, mainly because, as a demo singer, Francis could copy other popular singers of the day like Kitty Kallen or Kay Starr, but had not yet developed a distinctive sound of her own.
Finally, even when MGM Records decided to sign a contract with her, it was basically because one track she had recorded, "Freddy", happened to be the name of the son of a Loew's, Incorporated, co-executive, Harry A. Myerson, who thought of this song as a nice birthdayGIFT. Hence, "Freddy" was released as Francis' first single, which turned out to be a commercial failure, just as her following eight solo singles were.
In the fall of 1957, Francis enjoyed her first chart success with a duet single she had recorded with Marvin Rainwater: "The Majesty of Love", backed with "You, My Darlin' You", peaked at # 93 on Billboard's Hot 100.
However, her minor chart success came too late – Francis' recording contract consisted of ten solo singles and one duet single. Though success had finally seemed to come with "The Majesty of Love", Francis was informed by MGM Records that her contract would be discontinued without renewal after her last solo single.
Francis considered a career in medicine and was about to accept a four-year scholarship offered at New York University. At what was to have been her final recording session for MGM on October 2, 1957, she recorded a cover version of the 1923 song "Who's Sorry Now?", written by Bert Kalmar and Harry Ruby. Francis has said that she recorded it at the insistence of her father, who was convinced it stood a chance of becoming a hit because it was a song adults already knew and that teenagers would dance to if it had a contemporary arrangement.
Francis, who did not like the song at all and had been arguing about it with her father heatedly, delayed the recording of the three other songs during the session so much, that in her opinion, no time was left on the continuously running recording tape. Her father insisted, though, and when the recording "Who's Sorry Now?" was finished, only a few seconds were left on the tape.
The single seemed to go unnoticed like all previous releases – just as Francis had predicted, but on January 1, 1958, the song debuted on Dick Clark'sAmerican Bandstand. By mid-year, over a million copies had been sold, and Francis was suddenly launched into worldwide stardom. In April 1958, "Who's Sorry Now" reached #1 on the UK Singles Chart and #4 in the US. For the next four years, Francis was voted the "Best Female Vocalist" by American Bandstand viewers.
As Connie Francis explains at each of her concerts, she began searching for a new hit immediately after the success of "Who's Sorry Now?", since MGM Records had renewed her contract. After the relative failure of the follow-up singles "I'm Sorry I Made You Cry" (which stalled at No. 36) and "Heartaches"(failing to chart at all), Francis met with Neil Sedaka and Howard Greenfield, who sang a number of ballads they had written for her. After a few hours, Francis began writing in her diary while the songwriters played the last of their ballads. Afterwards, Francis told them that she considered their ballads too intellectual and sophisticated for the young generation and requested a more lively song. Greenfield urged Sedaka to sing a song they had written that morning with the Shepherd Sisters in mind. Sedaka protested that Francis would be insulted, but Greenfield said that since she hated all the other songs they had performed, they had nothing to lose. Sedaka played "Stupid Cupid". When he finished, Francis announced that he had just played her new hit record. The song reached #14 on the Billboard chart and was her second #1 in the UK.
The success of "Stupid Cupid"RESTORED momentum to Francis' chart career, and she reached the U.S. top 40 an additional seven times during the remainder of the 1950s. She managed to churn out more hits by covering several older songs, such as "My Happiness" (#2 on the Hot 100) and "Among My Souvenirs" (#7), as well as performing her own original songs. In 1959, she gained two gold records for a double-sided hit: on the A-side, "Lipstick on Your Collar" (#5); on the B-side, "Frankie" (#9).
Following another idea from her father, Francis traveled to London in August 1959 to record an Italian album at EMI's famous Abbey Road Studios.Entitled Connie Francis sings Italian Favorites, the album was released in November 1959. It soon entered the album charts where it remained for 81 weeks, peaking at #4. To this day, it is still Francis' most successful album. "Mama", the single taken from the album, reached #8 in the United States and #2 in the United Kingdom.
Following this success, Francis recorded seven more albums of "Favorites" between 1960 and 1964, including Jewish, German, and Irish Favorites, among others. These albums marked Francis' transition from the youth-oriented rock 'n' roll music to adult contemporary music, which George Franconero, Sr. had realized to be necessary if his daughter wanted to pursue a successful longtime career in music.
The success of "Connie Francis sings Italian Favorites" in late 1959/early 1960 led Francis to become one of the first American artists to record in other languages regularly. She was to be followed by other major British and American recording stars including Wanda Jackson, Cliff Richard, Petula Clark, Brenda Lee, The Supremes, Peggy March, Pat Boone, Lesley Gore, The Beatles, and even Johnny Cash, among many others. In her autobiography, Francis mentioned that in the early years of her career, the language barrier in certain European countries made it difficult for her songs to get airplay, especially in Germany. She explained that Germany's most popular singer, Freddy Quinn, often sold two to three million records per song, equivalent to about 12 million in the United States.
Francis used these reflections as the basis for her April 1960 recording, "Everybody's Somebody's Fool". Although this single became her first #1 on the US charts (immediately followed by her second #1, "My Heart Has a Mind of Its Own"), and its B-side "Jealous of you (Tango della Gelosia)" became a huge hit in Italy, it failed to make any impression on the German charts.
Veteran lyricist Ralph Maria Siegel penned a set of German lyrics, named "Die Liebe ist ein seltsames Spiel", which after some friction between Francis and her MGM executives, was recorded and released. The song peaked at #1 in Germany for two weeks, as it did in many other countries, and Francis had six more #1 hits on the German charts.
Contrary to popular belief, Francis did not record any further foreign-language versions of "Everybody's Somebody's Fool". The German version is the only one recorded by herself, although other artists recorded further cover versions in various languages such as Portuguese, Swedish, and Finnish.
It was not until her #7 on the US charts, "Many Tears Ago", later in 1960 when Francis began to record cover versions of her own songs in foreign languages besides German. Over the following years, she eventually expanded her recording portfolio up to 15 languages.
Francis was not fluent in all of these languages and she had to learn her foreign language songs phonetically. Francis explained in a 1961 television interview that she was fluent in Spanish and Italian, but always had a translator nearby to make sure her translated lyrics and especially her pronunciation were as grammatically correct as possible.
In the wake of "Die Liebe ist ein seltsames Spiel", Francis enjoyed her greatest successes outside the United States. During the 1960s, her songs not only topped the charts in numerous countries around the world, but also she was also voted the #1 singer in over 10 countries. In 1960, she was named the most popular artist in Europe, the first time a non-European received this honor. From mid-1961 to mid-1963, Radio Luxembourg closed each day's broadcasts with "It's Time to Say Goodnight", a song Francis had recorded especially for this purpose and which was never officially released until 1996.
Francis' enduring popularity overseas led to her having television specials in numerous countries around the world, such as England, Germany, Spain, and Italy. Even at the height of the Cold War, Francis' music was well received in Iron Curtain countries, and some of her recordings were made available on state-owned record labels such as Melodiya in the former Soviet Union and on Jugoton in former Yugoslavia, although it was common knowledge that rock 'n' roll was highly looked down upon in Eastern bloc countries.
In the US, Connie Francis had a third #1 hit in 1962: "Don't Break the Heart That Loves You", and her success led MGM to give her complete freedom to choose whichever songs she wanted to record.
Due to changing trends in the early and mid-1960s, namely the British Invasion, Francis' chart success on Billboard's Hot 100 began to wane after 1963. She had her final top-ten hit, "Vacation", in 1962. A number of Francis' singles continued to reach the top 40 in the US Hot 100 through the mid-1960s, with her last top-40 entry being 1964's "Be Anything (but Be Mine)". Despite her declining success on the Hot 100, Francis remained a top concert draw, and her singles – now following a more mature style – were charting on the top quarter of Billboard'sAdult Contemporary (AC) Charts and sometimes even reachedBillboard'sCountry Charts. Therefore, Francis enjoyed lasting chart success in the US until her contract with MGM Records ran out in 1969.
Francis returned to San Remo in 1967 to present "Canta Ragazzina" with her team partner Bobby Solo, but did not reach the finals. In the US, however, "Time Alone Will Tell", Francis' cover version of San Remo's 1967 winning entry "Non pensare a me" which had been presented by Iva Zanicchi and Claudio Villa, peaked at #94 on Billboard's Hot 100 and at #14 on Billboard's AC charts.
Francis' popularity outside of the US helped to maintain her career, even when her hits were struggling in her home country. She continued to have chart hits into the 1970s in some countries and, even to this day, she remains very popular in European countries, though she no longer records or appears as frequently as she used to do.
In late 1969, Francis' contract with MGM Records ran out and she decided not to commit herself any further to her longtime record company, weary from almost 15 years of uninterrupted recording, live appearances, television and motion picture work, and travelling. From 1970 until 1973, Francis lived in semiretirement, appearing only occasionally as a special guest on TV shows.
In 1973, Francis returned to the recording studio, cutting "(Should I) Tie a Yellow Ribbon Round the Old Oak Tree?", b/w "Paint the Rain" on GSF Records. This answer song to "Tie a Yellow Ribbon Round the Old Oak Tree" by Tony Orlando & Dawn would "bubble" under the charts. The project of recording a German version, though, remained unfinished. Another 1973 single, "I Don't Want to Walk Without You", b/w "Don't Turn Around", on Ivanhoe Records, failed to chart.
After her modest success with "(Should I) Tie a Yellow Ribbon Round the Old Oak Tree?" Francis began performing regularly again. While appearing at theWestbury Music Fair in New York, on November 8, 1974, Francis was raped at the Jericho TurnpikeHoward Johnson's Lodge and nearly suffocated to death under the weight of a heavy mattress the culprit had thrown upon her. She subsequently sued the motel chain for failing to provide adequate security and reportedly won a $2.5 million judgment, at the time one of the largest such judgments in history, leading to a reform in hotel security. Her rapist was never found.
In 1977, Francis underwent nasal surgery and completely lost her voice. She went through several more operations and even when she got her voice back, she was forced to take vocal lessons. Although she had taken vocal lessons beforehand, this was the first time she had been asked to do so.
In 1978, Francis returned to the recording studio to cut an album titled Who's Happy Now? The leading recording on this album was a disco version of "Where the Boys Are". She recorded this song also in Japanese, Italian, and Spanish, as she had done before with her original 1960 version. Several songs from the Who's Happy Now? sessions were subsequently recorded in Italian, Spanish, Japanese, and German. The Spanish and German recordings became albums of their own in as Connie Francis en Español in Spain and as Was ich bin (What I Am) in Germany. All three albums and the singles culled from them were released on United Artists Records.
Francis returned to the recording studio in 1981 to cut "Comme ci, comme ça", and "I'm Me Again". The latter became theTITLE track of a subsequent album which featured the aforementioned new songs, as well as previously unreleased material from the 1950s and 1960s. "I'm Me Again" became Francis' last single to chart on the AC charts. Both the single and the album were Francis' last original releases on MGM Records; Polydor bought the label in 1976 and discontinued it in 1982.
Another tragedy in Francis' life was the killing of her brother, George Franconero, Jr., to whom she was very close, by Mafia hitmen in 1981.
Despite this, she took up live performing again, even gracing the American Bandstand 30th Anniversary Special Episode and appearing in the town where she had been raped. Francis' newfound success was short-lived,though, as she was diagnosed with manic depression, which brought her career to a stop for a further four years, during which she was committed to a total of 17 hospitals. Francis admitted that she nearly committed suicide because these hospitals were extremely depressing.
Nevertheless, in 1984, Francis was able to write and present her published autobiography, Who's Sorry Now?, which became a New York Times bestseller. However, despite the fact that her 1982 recording "There's Still a Few Good Love Songs Left in Me" brought Francis her last notation on the country charts, several songs never made it beyond the status of being recorded. Many songs from that time, such as Francis' versions of classics such as "Speak Softly, Love" and "Break It to Me Gently," and original songs such as "Blue Orleans" are still awaiting their official first-time release.
In 1992, a medley of remixed versions of her biggest German hits charted in Germany. This single, entitled "Jive, Connie", ended up among the top-ten best-selling singles of the year, which brought Connie Francis the prestigious R.SH-Gold award for the "Best Comeback of the Year" from R.SH (short for "Radio Schleswig-Holstein"), back then one of Germany's most important private radio stations. A subsequent compilation album of her biggest German hits in their original versions was also released successfully. In the wake of this, Francis recorded two duets for the German Herzklang label (a subsidiary of Sony Music Entertainment) with Peter Kraus, with whom she had already worked several times in the late 1950s and early 1960s. A German-language solo album was supposed to follow on Herzklang, but despite all songs being recorded and mixed, the album remains unreleased to this day.
In 1995, Francis recorded The Return Concert, a live album which was released on Legacy Recordings.
In 1996, With Love To Buddy, a tribute album of songs made famous by the late Buddy Holly, was released. Although this album continues to be re-released under various names on countless low-budget labels, With Love To Buddy remains Francis' last original release as of October 2011. At infrequent intervals, though, Francis releases compact disc albums and EPs in limited quantities on her own label, Concetta Records, containing previously unreleased material from her private archives.
In late December 2004, Francis headlined in Las Vegas for the first time since 1989. In March and October 2007, Francis performed to sold-out crowds at theCastro Theatre in San Francisco. She appeared in concert in Manila, the Philippines, on Valentine's Day 2008.
Francis has been married four times. The longest-lasting union was five years (1973-1978) with Joseph Garzilli, a restaurateur and travel-agency owner.She was also married for four months to Dick Kannellis, a press agent and entertainment director for the Aladdin Hotel (1964); 10 months to Izzy Marrion, a hair-salon owner (1971-1972); and eight months to TV producer Bob Parkinson (1985-1986).
Early in her career, Francis was introduced to Bobby Darin, then an up-and-coming singer and songwriter. Darin's manager arranged for him to help write several songs for her. Despite some disagreement about material, after several weeks Darin and Francis developed a romantic relationship. Francis' strict Italian father would separate the couple whenever possible. When her father learned that Bobby Darin had suggested the two lovers elope after one of her shows, he ran Darin out of the building at gunpoint, telling him never to see his daughter again.
Francis saw Darin only two more times – once when the two were scheduled to sing together for a television show, and again when she was spotlighted on the TV series This Is Your Life. By the time of the latter's taping, Bobby Darin had married actress Sandra Dee. In her autobiography Francis stated she and her father were driving into the Lincoln Tunnel when the radio DJ announced Dee and Darin's marriage. Her father made a negative comment about Bobby finally being out of their lives. Angered, Francis wrote she hoped the Hudson River would fill the Lincoln Tunnel, killing both her and her father; she later wrote that not marrying Darin was the biggest mistake of her life.
Other sources dispute the nature of the relationship. Writer Sharon Rosenthal reported in Us Weekly that "many now believe Connie wildly exaggerated her relationship with the late singer." "Their 'great romance' is a myth she's perpetuated all her life," press agent Dick Gershe told Rosenthal. According toFrankie Avalon in the same article, "Connie was on the scene, but Bobby's girl at the time was another singer named Jo Ann Campbell."
Francis and singer Gloria Estefan completed a screenplay for a movie based on Francis' lifeTITLEDWho's Sorry Now?. Estefan has announced that she would produce and play the lead. She said, "[Connie Francis] isn't even in the Rock and Roll Hall of Fame, and yet she was the first female pop star worldwide, and has recorded in nine languages. She has done a lot of things for victims' rights since her rape in the '70s .... There's a major story there."
In December 2009 the film project was dropped. According to Francis:
They chose to use amateur writers to write the screenplay. I wanted the writer Robert Freeman who wrote that miniseries Life with Judy Garland: Me and My Shadows, which won I don’t know how many Emmy Awards, but Gloria and company were unwilling to hire that writer. I absolutely adored his screenplay of Judy’s life ... he was so eager to do my life story for film, but she [Gloria] wouldn’t agree to hire him and that was the end of that. And I’m sorry I wasted ten years with those people [i.e. the Estefans].
In the same article, Francis revealed that entertainer Dolly Parton had been contacting her for years trying to produce her life story, but due to her previous commitment to Estefan's organization, she was not able to accept Parton'sOFFER. She noted in the article that both she and Parton had considered, independently of each other, actress Valerie Bertinelli to play Francis.
Francis supported Richard Nixon's 1968BID for the Presidency when she recorded a TV ad for him.
In the 1980s, Ronald Reagan appointed her as head of his task force on violent crime. She has also been the spokeswoman for Mental Health America's trauma campaign, as well as an involved worker for the USO and UNICEF.
Francis brought a suit alleging that Universal Music Group (UMG) took advantage of her condition and stoppedPAYING royalties. The lawsuit was dismissed.
On November 27, 2002, she filed a second suit against UMG alleging the label had inflicted severe emotional distress on her and violated her moral rightswhen, without her permission, it synchronized several of her songs into "sexually themed" movies: the 1994 film Post Cards from America, the 1996 film The Craft, and the 1999 film Jawbreaker. This suit was also dismissed.
Francis also sued the producers of Jawbreaker for using her song "Lollipop Lips," which is heard during a sex scene.
This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2015)*HBO Series - Sopranos (season 1, episode 8): When Dr. Jennifer Melfi (portrayed by actress Lorraine Bracco) criticizes her ex-husband, Richard LePenna (played by Richard Romanus), LePenna complains about movies that depict Italians as gangsters. In reference to his petty behaviors, Dr. Melfi quips, "With all the poverty, starvation, ethnicCLEANSING and generally horrible shit in this world, you devote your energies to the protection of the dignity of Connie Francis."
When the character Amber von Tussle chooses "Shake a Tail Feather" by The Five Du-Tones as her dance number on a television dance show in the original 1988 version of Hairspray, her dismayed mother Velma demands to know "Do you have something against Connie Francis?"
Francis's rendition of "Mama" is featured in a scene of the 2003 movie Mambo Italiano.
In 1977, Andrea Martin of SCTV fame, performed a spoof television commercial called "20 Depressing Hits by Connie Franklin".
Francis's LP record forms an important part of the main storyline in a 1999 Korean film The Harmonium in My Memory and her song "Don't break the heart that loves you" features repeatedly in the soundtrack.
Francis gives John Waters a fictional, hitchhiked car ride in a limo in a Waters' 2014 book. He also wrote andDIRECTED the 1988 film mentioned above.
In the American film The Craft (1996), one of the characters purchases a juke box that plays nothing but Connie Francis records.