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)
Change Partners
Sammy Davis Jr. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
With the same fortunate man?
You have danced with him since the music began,
Won't you change partners and dance with me?
Must you dance quite so close,
With your lips touching his face?
Can't you see I'm longing to be in his place?
Ask him to sit this one out,
And while you're alone,
I'll tell the waiter to tell him
He's wanted on the telephone,
You've been locked in his arms
Ever since heaven-knows-when,
Won't you change partners and then,
You may never want to change partners again.
Ask him to sit this one out,
And while you're alone,
I'll tell the waiter to tell him
He's wanted on the telephone,
You've been locked in his arms
Ever since heaven-knows-when,
Won't you change partners and then,
You may never have to change partners again.
Sammy Davis Jr.'s "Change Partners" is a love song that describes the desire of the singer to dance with his partner who is currently dancing with another man. The singer of the song feels that the woman in question has been dancing with the same man since the beginning of the music, and so he implores her to change partners and dance with him. He goes on to describe his yearning to be in the other man's place and asks the woman to distance herself from her current dance partner. The singer of the song suggests that the man sits out for one song, and during this time, he will inform him that he is wanted on the telephone. There is a hint of jealousy and a sense of urgency in the singer's voice, as he pleads with the woman to change partners and give him a chance to dance with her intimately.
The song's lyrics are a metaphor for a relationship that is on the brink of ending. The woman has been with the same man for an extended period, and the singer wants her to consider him as a viable option. The suggestion that the man sits out for one song and is told that he is wanted on the phone by the waiter is a ploy used by the singer to have a few moments alone with the woman. The song is a classic example of the kind of love songs that were popular in the 1960s and 1970s, where the singers often used a metaphor to convey their feelings to their loved ones.
Line by Line Meaning
Must you dance every dance
Do you have to dance each and every dance
With the same fortunate man?
With that lucky guy who you always dance with?
You have danced with him since the music began,
Since the start of the music, you've danced with him
Won't you change partners and dance with me?
Why don't you switch dance partners and dance with me instead?
Must you dance quite so close,
Do you really have to dance so close
With your lips touching his face?
With your lips almost touching his face?
Can't you see I'm longing to be in his place?
Can't you see how much I want to be in his position?
Won't you change partners and dance with me?
Why don't you switch dance partners and dance with me instead?
Ask him to sit this one out,
Tell him to skip this dance,
And while you're alone,
And while we're together dancing,
I'll tell the waiter to tell him
I'll ask the waiter to let him know
He's wanted on the telephone,
That he's needed on the phone.
You've been locked in his arms
You've been embraced by him
Ever since heaven-knows-when,
For as long as I can remember,
Won't you change partners and then,
Why don't you switch dance partners and then
You may never want to change partners again.
Maybe you won't ever want to switch again.
Lyrics © IMAGEM U.S. LLC, Universal Music Publishing Group
Written by: IRVING BERLIN
Lyrics Licensed & Provided by LyricFind
rovingeye5
this was what it was about back then, a good entertainer had a good voice, good arrangements, experienced, "live" musicians backing them, really swinging so you you felt like dancing!
Braedon Masset
Fantastic voice
Deneen Jeffries
This sounds nice 👍🏽
LaughClub
Wow - study this picture! This is what customers in a nightclub used to look like. Front row center is Mae Britt , behind and to the right is comedian Joey Adams, look at the rapt attention of the wait staff. Great photo! To see him perform this song live, check out the Jerry Lewis Sammy Davis concert tape shot live at Bally's. He was the best!