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)
What Now My Love
Sammy Davis Jr. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Now that you left me
How can I live through another day
Watching my dreams turn into ashes
And all my hopes into bits of clay
Once I could see, once I could feel
Now I am numb
I've become unreal
I walk the night, oh, without a goal
Stripped of my heart, my soul
What now my love
Now that it's over
I feel the world closing in on me
Here come the stars
Tumbling around me
And there's the sky where the sea should be
What now my love
Now that you're gone
I'd be a fool to go on and on
No one would care, no one would cry
If I should live or die
What now my love
Now there is nothing
Only my last goodbye
Only my last goodbye
Sammy Davis Jr.'s song "What Now My Love" is a heart-wrenching narrative of a person unable to reconcile with the loss of a loved one. The song is imbued with piercing emotion that evokes an eagerness to know what to do in the face of loneliness and hurt. The singer expresses his/her feeling of no longer being able to carry on with life since the departure of the person dearly cherished. The line "How can I live through another day" emphasizes the despair and anguish felt by the singer caused by the absence of the beloved.
The second stanza shows the singer's profound sense of emptiness and numbness. They describe themselves as being stripped of their heart and soul, emphasizing the depth of pain they feel. The singer acknowledges that there's no longer any hope or joy in their life, as all their dreams and hopes have turned into ashes and bits of clay. The vivid imagery of watching one's dreams turn into ashes and hopes into bits of clay paints a picture of devastation that the singer feels.
The final verse depicts a person struggling with the overwhelming feelings of loneliness and isolation. The singer implies that they are heading towards their end and feel that the world is closing in on them. The last two lines - "Only my last goodbye, Only my last goodbye" - are heart-rending and evoke deep sadness.
Line by Line Meaning
What now my love
Expressing confusion and desolation after a break-up
Now that you left me
Addressing the person who caused the pain and stating the cause of the singer's pain
How can I live through another day
Questioning how to continue living after a painful event
Watching my dreams turn into ashes
Seeing one's hopes and ambitions crumble and wither away
And all my hopes into bits of clay
Feeling that everything the singer has worked for has turned into nothing
Once I could see, once I could feel
Recalling a time when the singer felt alive and had passion for life
Now I am numb
Feeling emotionally desensitized due to the loss
I've become unreal
Feeling detached from oneself and reality
I walk the night, oh, without a goal
Wandering aimlessly through life without purpose
Stripped of my heart, my soul
Feeling a loss of identity and purpose due to the pain
Now that it's over
Acknowledging the end of the relationship
I feel the world closing in on me
Experiencing claustrophobia and feeling trapped in one's pain
Here come the stars
Noticing beauty in the world despite the pain
Tumbling around me
Feeling overwhelmed by the amount of beauty in the world
And there's the sky where the sea should be
Feeling disoriented and confused by the world around the singer
Now that you're gone
Accepting the loss of the relationship and the person
I'd be a fool to go on and on
Realizing that continuing to pursue a lost cause would be foolish
No one would care, no one would cry
Feeling alone and unsupported in the pain
If I should live or die
Feeling that the loss has no impact on the world and the singer's life has lost all value
Now there is nothing
Feeling that everything meaningful has vanished
Only my last goodbye
Recognizing that everything will end with a final goodbye
Lyrics © Universal Music Publishing Group, BALANDRAS EDITIONS, Warner Chappell Music, Inc.
Written by: Carl Sigman, Gilbert Becaud, Pierre Delanoe
Lyrics Licensed & Provided by LyricFind
Mildred Mackey
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