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)
Please Don't Talk About Me Whe
Sammy Davis Jr. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Seems we can't get along,
No matter what I do
I don't appeal to you
Makes no difference whether
I am right or wrong
If we can't be sweethearts
This much you can do
Please don't talk about me when I'm gone
Oh, Honey, though our friendship ceases from now on
And listen, if you can't say anything real nice
It's better not to talk at all, that's my advice
We're parting, you go your way, I'll go mine
It's best that we do
Here's a kiss, I hope that this brings lots of luck to you
Makes no difference how I carry on
Just remember
Please don't talk about me when I'm gone.
As recorded by Kay Starr.
The above lyrics are from Sammy Davis Jr.'s song "Please Don't Talk About Me When I'm Gone". The song highlights the strained relationships between two people who have been together for a long time but cannot seem to get along. The tenuousness of the relationship is evident in the opening lines: "Years we've been together/ Seems we can't get along". The singer is pleading with his partner not to speak ill of him after he's gone. The lyrics imply that their relationship has run its course and they are parting ways.
The singer tries to end things on good terms, asking his partner not to say anything negative about him after he is gone. The lyrics "If we can't be sweethearts/ This much you can do" suggest that even if they can't be together, they can still maintain a certain degree of mutual respect. The singer recognizes that the relationship is over and wants to end things amicably. He wants his partner to remember the good things about him after he is gone, instead of talking about the parts of the relationship that didn't work out.
Overall, the song is a poignant reminder that even when relationships end, it's important to treat one another with respect and kindness. It's a plea for civility and understanding when things don't work out, and a reminder that sometimes it's better to move on than to dwell on the negative.
Line by Line Meaning
Years we've been together
We have been in a relationship for a long time
Seems we can't get along,
It appears that we are unable to have a good relationship
No matter what I do
My efforts to improve our relationship are futile
I don't appeal to you
You do not find me attractive
Makes no difference whether
It does not matter if
I am right or wrong
Whether I am correct or mistaken
If we can't be sweethearts
If we cannot be lovers
This much you can do
At least do this for me
Please don't talk about me when I'm gone
Do not speak of me when I am no longer present
Oh, Honey, though our friendship ceases from now on
Although our friendship is ending from this point forward
And listen, if you can't say anything real nice
And if you cannot say anything kind
It's better not to talk at all, that's my advice
It would be best not to speak at all, that is my suggestion
We're parting, you go your way, I'll go mine
We are separating, you will continue in your direction and I will continue in mine
It's best that we do
It is the best thing for us to do
Here's a kiss, I hope that this brings lots of luck to you
Here is a kiss, I hope it brings you a lot of fortune
Makes no difference how I carry on
It does not matter how I continue
Just remember
Only remember
Please don't talk about me when I'm gone.
Do not speak about me when I am no longer present
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Bee Palmer, Sidney Clare, Sam Stept
Lyrics Licensed & Provided by LyricFind
@alanrice8201
He only had one hand,he asked as a friend, not as a arrogant Superstar.
@marijaspanjol4648
We get it. They having fun. It's Eddie Murphy and happy Michael. 🎵💯
@Valentinathevamp
Eddie is only being silly.
@Men35960
Back then they wasn’t weird and sensitive like y’all are now.
@davidcisneros7621
Michael said "could you" and "please"
❤❤❤
@Bart-lp9vb
It's a joke.
@ImAmTheBushMaori
People don’t understand that they were both good friends so this is just friends having fun on stage with each other!
@profilipino4655
Nah chris tucker is his only genuine friend. All the so called friend left him when he was down.
@Coco-xw3wp
I hope you guy's understand that it was all Quincy Jones idea for this Micheal Jackson character! That's why in 2007 Micheal Jackson's album read, THIS IS IT. It was Quincy Jones idea to have Micheal change his appearance from blk to white, Quincy Jones is a white worshiper and a sell out..... 😮
@JohnnyRayedd-Neck
He was being racist cos him are a blay-ack African! 😮