Early life
Samuel George "Sammy" Davis, Jr. was born in New York City, New York to Elvera Sanchez (1905-2000)[1], a Puerto Rican tap dancer, and Sammy Davis, Sr. (1900-1988), an African-American entertainer. The couple were both dancers in vaudeville. As an infant, he was raised by his paternal grandmother. When he was three years old, his parents split up. His father, not wanting to lose custody of his son, took him on tour. During his lifetime Sammy Davis, Jr. stated that his mother was Puerto Rican and born in San Juan.[2] As a child he learned how to dance from his father and his "uncle" Will Mastin, who led the dance troupe his father worked for. Davis joined the act as a young child and they became the Will Mastin Trio. Throughout his long career, Davis included the Will Mastin Trio in his billing.
Mastin and his father had shielded him from racism. Snubs were explained as jealousy, for instance. When Davis served in the United States Army during World War II however, he was confronted by strong racial prejudice. As he said later, "Overnight the world looked different. It wasn't one color anymore. I could see the protection I'd gotten all my life from my father and Will. I appreciated their loving hope that I'd never need to know about prejudice and hate, but they were wrong. It was as if I'd walked through a swinging door for eighteen years, a door which they had always secretly held open."
Career
While in the service, however, he joined an integrated entertainment Special Services unit, and found that the spotlight removed some of the prejudice. "My talent was the weapon, the power, the way for me to fight. It was the one way I might hope to affect a man's thinking," he said.[3]
Sammy Davis, Jr. (left) with Roy Wilkins (right) at the 1963 Civil Rights March on Washington, D.C.
After he was discharged, Davis rejoined the dance act which played at a wide variety of spots around Portland Oregon, and began to achieve success on his own as he was singled out for praise by critics. The next year, he released his second album. The next move in his growing career was to appear in the Broadway show Mr. Wonderful in 1956.
In 1959, he became a member of the Rat Pack, which was led by his old friend Frank Sinatra, and included such fellow performers as Dean Martin, Joey Bishop, Peter Lawford, and Shirley MacLaine. Initially, Sinatra called the gathering of fast-living friends "the Clan," but Sam voiced his opposition, saying that it invoked thoughts about the Ku Klux Klan. Sinatra renamed the group "the Summit"...but nevertheless, the media kept on calling it the Rat Pack all along.
Davis was a headliner at The Frontier Casino in Las Vegas, Nevada for many years, yet was required to accept accommodations in a rooming house on the west side of the city, rather than reside with his peers in the hotels, as were all black performers in the 1950s. For example, no stage dressing rooms were provided for black performers, so they were required to wait outside by the swimming pool between acts. [4]
During his early years in Las Vegas, he and other African-American artists like Nat King Cole and Count Basie could entertain on the stage, but often could not reside at the hotels at which they performed, and most definitely could not gamble in the casinos or go to the hotel restaurants and bars. After he achieved superstar success, Davis refused to work at venues which would practice racial segregation. His demands eventually led to the integration of Miami Beach nightclubs and Las Vegas casinos. Davis was particularly proud of this accomplishment. [5]
Although James Brown would claim the title of "Hardest Working Man in Show Business," the argument could be made that Sammy Davis, Jr. deserved it more. For example, in 1964 he was starring in Golden Boy at night and shooting his own New York-based afternoon talk show during the day. When he could get a day off from the theater, he would either be in the studio recording new songs, or else performing live, often at charity benefits as far away as Miami, Chicago and Las Vegas, or doing television variety specials in Los Angeles. Even at the time, Sam knew he was cheating his family of his company, but he couldn't help himself; as he later said, he was incapable of standing still.
Although still a huge draw in Las Vegas, Davis' musical career had sputtered out by the latter years of the 1960s, although he had a #11 hit (#1 on the Easy Listening singles chart) with "I've Gotta Be Me" in 1969. An attempt to update his sound and reconnect with younger people resulted in some embarrassing "hip" musical efforts with the Motown record label.[6] But then, even as his career seemed at its nadir, Sammy had an unexpected worldwide smash hit with "Candy Man". Although he didn't particularly care for the song and was chagrined that he was now best known for it, Davis made the most of his new opportunity and revitalized his career. Although he enjoyed no more Top 40 hits, he did enjoy some extra popularity with his performance of the theme song from the T.V. series Baretta (1975-1978) which was not released as a single but was given extensive radio play and he remained a successful live act beyond Vegas for the remainder of his career. He would still occasionally land television and film parts, including high profile visits to the All in the Family series playing himself. In the 1970s, he also appeared in a series of memorable commercials in Japan for Suntory whiskey.
On December 11, 1967, NBC broadcast a musical-variety special entitled Movin' With Nancy. In addition to the Emmy Award-winning musical performances, the show is famous for Nancy Sinatra and Sammy Davis, Jr. greeting each other with a kiss, one of the first black-white kisses in U.S. television history.[7]
In Japan, Davis appeared in television commercials for coffee, and in the U.S. he joined Sinatra and Martin in a radio commercial for a Chicago car dealership.
Davis was one of the first male celebrities to admit to watching television soap operas, particularly the shows produced by the American Broadcasting Company. This admission led to him making a cameo appearance on General Hospital and playing the recurring character Chip Warren on One Life to Live for which he received a Daytime Emmy nomination in 1980. He was also a game show fan, making a cameo on the ABC version of Family Feud in 1979, and hosting a question with Richard Dawson watching from the sidelines. He appeared on Tattletales with third wife Altovise Davis in the 1970s. He also made a cameo during an episode of the NBC version of Card Sharks in 1981.
Davis was an avid photographer who enjoyed shooting family and acquaintances. His body of work was detailed in a 2007 book by Burt Boyar. "Jerry [Lewis] gave me my first important camera, my first 35 millimeter, during the Ciro's period, early '50s," Boyar quotes Davis. "And he hooked me." Davis used a medium format camera later on to capture images. Again quoting Davis, "Nobody interrupts a man taking a picture to ask... 'What's that nigger doin' here?' ". His catalogue of photos include rare shots of his father dancing onstage as part of the Will Mastin Trio. Also, intimate snapshots of close friends: Jerry Lewis, Dean Martin, Frank Sinatra, James Dean, Nat "King" Cole and Marilyn Monroe. His political affiliations also were represented in his images of: Robert Kennedy, Jackie Kennedy, Martin Luther King Jr. His most revealing work comes in photographs of wife May Britt and their three children, Tracey, Jeff and Mark.
(Credit Wikipidia.org)
Blue Velvet
Sammy Davis Jr. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'm so lonesome all the time
Since I left my baby behind on Blue Bayou
Savin' nickels, savin' dimes
Workin' till the sun don't shine
Lookin' forward to happier times on Blue Bayou
Where you sleep all day and the catfish play on Blue Bayou
All those fishin' boats with their sails afloat, if I could only see
That familiar sunrise through sleepy eyes how happy I'd be
Oh, to see my baby again
And to be with some of my friends
Maybe I'd be happy then on Blue Bayou
I'm goin' back some day, gonna stay on Blue Bayou
Where the folks are fine and the world is mine on Blue Bayou
Ah, that girl of mine by my side
The silver moon and the evening tide
Ah, some sweet day gonna take away this hurtin' inside
I'll never be blue, my dreams come true on Blue Bayou
The song "Blue Velvet" by Sammy Davis Jr. speaks of a man who is feeling down and lonely since he left his baby behind on the Blue Bayou. He is working all day, saving up so he can go back to his loved one, where he can be with her and his friends, and where he can live a happy life. The Blue Bayou is painted as a kind of utopia where people can sleep all day, fish, and enjoy the sunrise, and where the world is theirs.
The singer is deeply in love with his baby, and the thought of being with her again, by the moon and the ocean, brings him immense joy. He yearns for the day when he can take away the hurting inside and live on the Blue Bayou forever. Moreover, the song is a poignant representation of people who have been separated from their loved ones in pursuit of greener pastures, only to find that there's no place like home.
In conclusion, the “Blue Velvet" song contains a message of hope for those struggling to find happiness and love. The Blue Bayou serves as a metaphorical representation of what life could be if one were to find their place in the world, surrounded by those they love. It speaks to people who understand that no matter where they go or what they do, they will always long for the feeling of home.
Line by Line Meaning
I feel so bad I've got a worried mind
I am feeling terrible, my mind is filled with anxiety and troubles.
I'm so lonesome all the time
I am lonely every moment of every day.
Since I left my baby behind on Blue Bayou
Ever since I left my loved one on Blue Bayou, my life has not been the same.
Savin' nickels, savin' dimes
I am saving as much money as possible.
Workin' till the sun don't shine
I am working tirelessly, even during the long hours of daylight.
Lookin' forward to happier times on Blue Bayou
I am eagerly anticipating a better and happier future on Blue Bayou.
I'm goin' back some day, come what may, to Blue Bayou
I am determined to return to Blue Bayou, no matter what obstacles may arise.
Where you sleep all day and the catfish play on Blue Bayou
At Blue Bayou, you can rest all day and watch the catfish play.
All those fishin' boats with their sails afloat, if I could only see
I wish I could see all the fishing boats with their sails in the air.
That familiar sunrise through sleepy eyes how happy I'd be
I would be ecstatic if I could see the familiar sunrise with my sleepy eyes.
Oh, to see my baby again
I long to reunite with my loved one.
And to be with some of my friends
I want to spend time with my friends.
Maybe I'd be happy then on Blue Bayou
Possibly, I might find happiness when I return to Blue Bayou.
I'm goin' back some day, gonna stay on Blue Bayou
I am committed to returning to Blue Bayou permanently.
Where the folks are fine and the world is mine on Blue Bayou
People are friendly, and I feel like I own the world on Blue Bayou.
Ah, that girl of mine by my side
It would be fantastic if I could have my loved one next to me.
The silver moon and the evening tide
I am mesmerized by the sight of the silver moon and the evening time.
Ah, some sweet day gonna take away this hurtin' inside
One day, somehow, my pain and suffering will disappear.
I'll never be blue, my dreams come true on Blue Bayou
On Blue Bayou, my dreams will become a reality, and I will never feel sad again.
Lyrics © Universal Music Publishing Group, DEMI MUSIC CORP. D/B/A LICHELLE MUSIC COMPANY, BMG Rights Management
Written by: Joe Melson, Roy Orbison
Lyrics Licensed & Provided by LyricFind