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)
Lonesome Road
Sammy Davis Jr. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Before you travel on.
Look down, look down that lonesome road
Before you travel on.
Look up, look up and greet your maker,
For Gabriel blows his horn.
Travelin' down that lonesome road,
Look down, look down that lonesome road
Before you travel on.
Weary totin', it's such a load,
Whike I'm travelin' down, travelin' down that lonesome old road,
Look down, look down that lonesome road
Before you travel on.
The lyrics in the song "Lonesome Road" by Sammy Davis Jr. is a reflective and contemplative piece about a person's journey through life. The song urges the listener to look down the lonesome road of life before traveling on and to take account of their actions and how they affect their soul. The first verse suggests that it is important to consider where we are heading in life and to ensure that our actions align with our values. The second verse suggests that we should take the time to acknowledge our creator before our time comes.
The third and final verse laments how difficult the journey can be, with the weight that we carry on our shoulders while traveling down the lonesome road of life. Still, the song urges us to keep journeying, and to ensure that our feelings of weariness and burden do not turn us away from our path.
Overall, "Lonesome Road" is a song about the human condition, and how we must take responsibility for our actions as we journey through life.
Line by Line Meaning
Look down, look down that lonesome road
Pause and reflect upon your journey ahead, and take stock of the potential difficulties and challenges that may lie on this lonely path.
Before you travel on.
It is important to be aware of what is ahead of you when embarking on any journey or task.
Look up, look up and greet your maker,
Take a moment to pay homage to a higher power or God as you begin your journey.
For Gabriel blows his horn.
This is a reference to the biblical story of the Archangel Gabriel, who blew his horn to signal the end of the world. It serves as a reminder that all things must come to an end and we must be prepared for that inevitability.
Weary, totin' such a load,
The road can be tiring and burdensome, we carry our own weight and are responsible for our own progress along it.
Travelin' down that lonesome road,
The road is not only weary but also solitary, and we must make our own way down its path.
Look down, look down that lonesome road
The repetition here emphasizes the importance of remaining focused on the road ahead and not getting too caught up in distractions or side paths.
Before you travel on.
This line serves as a warning to take heed of what's ahead before proceeding.
Lyrics © Sony/ATV Music Publishing LLC, NATHANIEL SHILKRET MUSIC CO.
Written by: Gene Austin, Nathaniel Shilkret
Lyrics Licensed & Provided by LyricFind
Shane Punchez
love it
Tobias Boston
Underrated song
Chas Mal
Tobias Boston Not at the time
Shivani
Still simpatico with Sammy Davis, to me a unique entertainer who gave so much, and it wasn't easy. He gave his all and made it look easy, everytime. Remarkable man to see.
sextus pompeius
Fallout new Vegas