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‘I present our hoodlum singer.. ” With these words of mock homage, an astonishingly young and lanky Johnny Carson introduces Frank Sinatra to the stage of the Kiel Opera House in St. Louis, Missouri. The year is 1965; the event, billed as a “Frank Sinatra Spectacular” and broadcast on closed circuit to theaters across the country, is a benefit for Father Dismas Clark’s Half-Way House for excons. Sinatra said, “Be there,” and they were there—Dean Martin, Sammy Davis Jr., Trini Lopez, Kaye Stevens, and an amalgamation of two different bands, including members of the Count Basie Orchestra, conducted by a lean cat named Quincy Jones.

Joey Bishop was listed on the original program, but had to bow out when he “slipped a disk backing out of Frank’s presence,” according to Carson, his replacement, who was only three years into his tenure as host of The Tonight Show. A recently discovered kinescope of this bash—under the new title, The Rat Pack Captured—will be screened this month at the Museum of Television & Radio in New York and at the Los Angeles branch, and will also be broadcast later this year on “Nick at Nite”’s cable channel.

The edited 90-minute version of the benefit—featuring Frank, Dino, Sammy, and Johnny—represents the only known full-length video of the Rat Pack in performance. (A two-volume compact disc exists of the Rat Pack performing at the Villa Venice club in Chicago in 1962—a gig they were strong-armed into doing by the mobster Sam Giancana.) The Rat Pack kine-scope, found in a closet at the Dismas House, is more than a historical curio. It has the glamorous wham of a championship prizefight. Marathi audio bible old testament download word. It’s an opportunity to catch three of America’s greatest showmen in their tigerish prime (with Carson along for the ride), before they became total legends and turned into leather. After Sinatra’s set comes the usual Rat Pack foolery, some at Dean’s expense (“The only reason he’s got a good tan, he found a bar with a skylight”), but with Sammy as the primary butt. The racial ribbing, though not as crass or persistent as the kidding on the Villa Venice CD, conveys the edginess of the civil-rights era. Sammy mentions something about getting Martin Luther King Jr.’s permission to appear.

Dean lifts Sammy in his arms and says, “I’d like to thank the N.A.A.C.P. For this wonderful trophy.” Sammy, who had converted to Judaism, is hailed as the only Jewish Muslim: Irving X. What’s interesting about the last segment, aside from the forced joviality of the racial horseplay, is Carson’s surfacing irritation as the buffoonery (deliberately bad imitations of Jimmy Cagney, etc.) drags on too long. He feels extraneous on the stage, checking his watch and saying he has to catch a plane, and although he is not nearly the star at that point that Frank, Dino, or Sammy is, he isn’t grateful to play stooge to the gods. We see in his broomstick posture and sentry eyes the isolated power that Carson would become. The show ends with all four wailing away at “The Birth of the Blues,” with Dean taking a brilliantly timed pratfall just as he wings into his verse.

The excitement that this kinescope has sparked testifies to the unfading legend of the Rat Pack and their streamlined influence on male bravado, which can be observed in everything from the resurgence of “bachelor pad” music and the cocktail hour to the nostalgia for the Vegas of yore in movies like Casino and Bugsy, when the city still swung and the red lobbies weren’t clogged with Mr. Big-Butt America pushing strollers between the slots. The Rat Pack is the Mount Rushmore of men having fun. The designer Mossimo Giannulli keeps a large photograph of the Rat Pack in his Laguna Beach home, like an eternal flame. “These guys are my idols,” he told InStyle magazine.

“They just cruised. They had this great group of people, love and friendship.” The fact that the press keeps trying to manufacture fresh new Rat Packs—the acting Brat Pack of Judd Nelson, Ally Sheedy, Andrew McCarthy, Molly Ringwald, and Rob Lowe; the literary Brat Pack of Jay McInerney, Bret Easton Ellis, and Tama Janowitz—indicates the constant itch for a group energy, a moving amoeba of excitement, a scene. The term “Rat Pack” originally designated not Sinatra and his flying wedge but an informal Hollywood social set revolving around Humphrey Bogart and his pals. Nathaniel Benchley designed the letterhead of the group’s stationery, which bore the loyalty oath coined by Bogart, “Never rat on a rat.” Sinatra, who idolized Bogart, was a member in good standing, along with Judy Garland and agent Irving “Swifty” Lazar. After Bogart’s death in 1957, Sinatra, with his natural charisma and inability to be alone (see Gay Talese’s classic study in Esquire in 1966, “Frank Sinatra Has a Cold”), filled the social void and then some with his own Rat Pack, also known as the Clan—names Sinatra disavowed as inaccurate and uncouth.