I've been going around the world; I've been to China, I sang at the General Assembly, the Security Council.

Everyone, young and old, was responding to [Frank] Sinatra. So, the first time that I physically remember, it was as a youth. He always seemed to be there, let me put it that way. I can't remember the exact first time, but I can remember the effect his voice had on me.

[Frank] Sinatra, to everyone, even Tony Bennett, was such a huge influence because he had mastered not only music, but film and radio.

I didn't want to become this stiffened - and that was just a personal choice, at that time. And, the idea was also to go to film first, get enough notoriety in film that I could interpret some of the opera stuff the way I would want to interpret it.

My parents, the effect that [Frank Sinatra] had on the Italian community, in terms of all our friends at the house were multicultural. We weren't just Italians. My dad's close friend was a black gentleman - this was back in the early 50s when Tony Bennett was reprimanded for having lunch, when he was in the military, with a black man.

And just everyone in the 40s, you got to realize, for his time period, take Justin Bieber and put it on steroids - there was no one like Frank Sinatra before that. And you didn't have the amount of outlets that you have today and the variety that you have today. So, the Great American Songbook united the nation unlike any other music, because there weren't so many different kinds of communications.

The [Frank] Sinatra interpretation of the music, as opposed to some other music that you were listening to - where you felt like they were singing at you - you felt Sinatra was singing to you. It's a very intimate art form, and that's what I responded to - the intimacy of his performance.