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Samuel George Davis Jr. (December 8, 1925 – May 16, 1990) was an American singer, actor, comedian, dancer, and musician.

Key Information

At age four, Davis began his career in Vaudeville with his father Sammy Davis Sr. and the Will Mastin Trio, which toured nationally, and his film career began in 1933. After military service, Davis returned to the trio and became a sensation following key nightclub performances at Ciro's (in West Hollywood) in 1951, including one after the Academy Awards ceremony. With the trio, he became a recording artist. In 1954, at the age of 29, he lost his left eye in a car accident. Several years later, he converted to Judaism, finding commonalities between the oppression experienced both by black Americans and Jewish communities.[2] In 1958, he faced a backlash for his involvement with a white woman at a time when interracial relationships were taboo in the U.S. and when interracial marriage was not legalized nationwide until 1967.[3]

Davis had a starring role on Broadway in Mr. Wonderful with Chita Rivera (1956). In 1960, he appeared in the Rat Pack film Ocean's 11. He returned to the stage in 1964 in a musical adaptation of Clifford Odets's Golden Boy. Davis was nominated for a Tony Award for his performance. The show featured the first interracial kiss on Broadway.[4] In 1966, he had his own TV variety show, titled The Sammy Davis Jr. Show. While Davis's career slowed in the late 1960s, his biggest hit, "The Candy Man", reached the top of the Billboard Hot 100 in June 1972, and he became a star in Las Vegas, earning him the nickname "Mister Show Business".[5] Davis's popularity helped break the race barrier of the segregated entertainment industry.[6] One day on a golf course with Jack Benny, he was asked what his handicap was. "Handicap?" he asked. "Talk about handicap. I'm a one-eyed Negro who's Jewish."[7][8] This was to become a signature comment.[9]

After reuniting with Frank Sinatra and Dean Martin in 1987, Davis toured with them and Liza Minnelli internationally, before his death in 1990. He died in debt to the Internal Revenue Service,[10] and his estate was the subject of legal battles after the death of his wife.[11] Davis Jr.'s final album, the country-influenced Closest of Friends (1982), was a departure from his usual musical style.[12] Davis was awarded the Spingarn Medal by the NAACP and was nominated for a Golden Globe Award and an Primetime Emmy Award for his television performances. He was a recipient of the Kennedy Center Honors in 1987, and in 2001, he was posthumously awarded the Grammy Lifetime Achievement Award. In 2017, Davis was inducted into the National Rhythm & Blues Hall of Fame.

Early life

[edit]

Davis was born on December 8, 1925, in the Harlem district of Manhattan in New York City, the son of African American entertainer and stage performer Sammy Davis Sr. (1900–1988) and Cuban-American tap dancer and stage performer Elvera Sanchez (1905–2000).[13] During his lifetime, Davis stated that his mother was Puerto Rican and born in San Juan. However, in the 2003 biography In Black and White, author Wil Haygood wrote that Davis's mother was born in New York City to Cuban parents who were of Afro-Cuban background, and that Davis claimed he was Puerto Rican because he feared anti-Cuban backlash would hurt his record sales.[14][15]

Davis's parents were vaudeville dancers. As an infant, he was reared by his paternal grandmother. When he was three years old, his parents separated. His father, not wanting to lose custody of his son, took him on tour. Davis learned to dance from his father and his godfather Will Mastin. Davis joined the act as a child, and they became the Will Mastin Trio. Throughout his career, Davis included the Will Mastin Trio in his billing. Mastin and his father shielded him from racism, for example by dismissing race-based snubs as jealousy. However, when Davis served in the United States Army during World War II, he was confronted by strong prejudice. He later said: "Overnight the world looked different. It wasn't one color any more. 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 18 years, a door which they had always secretly held open."[16] At age seven, Davis played the title role in the film Rufus Jones for President, in which he sang and danced with Ethel Waters.[17] He lived for several years in Boston's South End and reminisced years later about "hoofing and singing" at Izzy Ort's Bar & Grille.[18]

Military service

[edit]

In 1944, during World War II, Davis was drafted into the U.S. Army at age 18.[19] He was frequently abused by white soldiers from the South and later recounted: "I must have had a knockdown, drag-out fight every two days." His nose was broken numerous times and permanently flattened. At one point he was offered a beer laced with urine.[6]

He was reassigned to the Army's Special Services branch, which put on performances for troops.[20] At one show he found himself performing in front of soldiers who had previously racially abused him.[19] Davis, who earned the American Campaign Medal and World War II Victory Medal, was discharged in 1945 with the rank of private.[19] He later said, "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."[21]

While in Paris in September 1944, he found himself being introduced and guided around the city by the French resistance fighter and left-wing journalist, Madeleine Riffaud.[22]

Career

[edit]

1940s

[edit]

Following his discharge from the Army, Davis rejoined the family dance act, which played at clubs around Portland, Oregon. He also recorded blues songs for Capitol Records in 1949 under the pseudonyms Shorty Muggins and Charlie Green.[23]

1950s

[edit]
Main article: Rat Pack

In March 1951, the Will Mastin Trio appeared at Ciro's as the opening act for headliner Janis Paige. They were to perform for only 20 minutes, but the reaction from the celebrity-filled crowd was so enthusiastic, especially when Davis launched into his impressions, that they performed for nearly an hour, and Paige insisted the order of the show be flipped.[6] Davis began to achieve success on his own and was singled out for praise by critics, releasing several albums.[24]

In 1953, Davis was offered his own television show on ABC, Three for the Road—with the Will Mastin Trio.[25][26][27] The network spent $20,000 filming the pilot, which presented African Americans as struggling musicians, not slapstick comedy or the stereotypical mammy roles of the time. The cast included Frances Davis, who was the first black ballerina to perform for the Paris Opera, actresses Ruth Attaway and Jane White, and Frederick O'Neal, who founded the American Negro Theater. The network could not get a sponsor, so the show was dropped.[27]

Davis and host Steve Allen rehearsing for the premiere of The Steve Allen Show in 1956

In 1954, Davis was hired to sing the title song for the Universal Pictures film Six Bridges to Cross.[28][29] In 1956, he starred in the Broadway musical Mr. Wonderful, which was panned by critics but was a commercial success, closing after 383 performances.[30]

In 1958, Davis was hired to crown the winner of the Miss Cavalcade of Jazz beauty contest for the famed fourteenth Cavalcade of Jazz concert produced by Leon Hefflin Sr., held at the Shrine Auditorium on August 3. The other headliners were Little Willie John, Sam Cooke, Ernie Freeman, and Bo Rhambo. The event featured the top four prominent disc jockeys of Los Angeles.[31][32]

In 1959, Davis became a member of the Rat Pack, led by his friend Frank Sinatra, which included fellow performers Dean Martin, Joey Bishop, and Peter Lawford, a brother-in-law of John F. Kennedy. Initially, Sinatra called the gathering "the Clan", but Davis voiced his opposition, saying that it reminded people of the Ku Klux Klan. Sinatra renamed the group "the Summit". One long night of poker that went on into the early morning saw the men drunken and disheveled. As Angie Dickinson approached the group, she said, "You all look like a pack of rats." The nickname caught on, and they were then called the Rat Pack, the name of the earlier group led by Humphrey Bogart and his wife, Lauren Bacall, who originally made the remark about the "pack of rats" they associated with.

1960s

[edit]

The group around Sinatra made several movies together, including Ocean's 11 (1960), Sergeants 3 (1962), and Robin and the 7 Hoods (1964), and they performed onstage together in Las Vegas. In 1964, Davis was the first African American to sing at the Copacabana night club in New York.[33]

Davis was a headliner at The Frontier Casino in Las Vegas, but owing to Jim Crow practices in Las Vegas, he was required (as were all black performers in the 1950s) to lodge in a rooming house on the west side of the city instead of in the hotels as his white colleagues did. No dressing rooms were provided for black performers, and they had to wait outside by the swimming pool between acts. Davis and other black artists could entertain but could not stay at the hotels where they performed, gamble in the casinos, or dine or drink in the hotel restaurants and bars. Davis later refused to work at places that practiced racial segregation.[34]

Canada provided opportunities for performers like Davis unable to break the color barrier in American broadcast television, and in 1959 he starred in his own TV special, Sammy's Parade, on the Canadian network CBC.[35] It was a breakthrough event for the performer, as in the United States in the 1950s corporate sponsors largely controlled the screen: "Black people [were] not portrayed very well on television, if at all", according to Jason King of the Clive Davis Institute of Recorded Music.[36]

Davis performing in 1966

In 1964, Davis was starring in Golden Boy at night and shooting his own New York-based afternoon talk show during the day.[citation needed] When he could get a day off from the theater, he recorded songs in the studio, performed at charity events in Chicago, Miami, or Las Vegas, or appeared on television variety specials in Los Angeles. Davis felt he was cheating his family of his company, but he said he was incapable of standing still.

On December 11, 1967, NBC broadcast a musical-variety special featuring Nancy Sinatra, titled Movin' with Nancy. In addition to the Emmy Award-winning musical performances, the show is notable for Nancy Sinatra and Davis greeting each other with a kiss, one of the first black-white kisses on American television.[37]

Davis had a friendship with Elvis Presley in the late 1960s, as they both were top-draw acts in Las Vegas at the same time. Davis was in many ways just as reclusive during his hotel gigs as Presley was, holding parties mainly in his penthouse suite that were occasionally attended by Presley. Davis sang a version of Presley's song "In the Ghetto" and made a cameo appearance in Presley's 1970 concert film Elvis: That's the Way It Is. One year later, he made a cameo appearance in the James Bond film Diamonds Are Forever, but the scene was cut. In Japan, Davis appeared in television commercials for coffee and Suntory Whiskey. In the United States he joined Sinatra and Martin in a radio commercial for a Chicago car dealership.[citation needed]

Although he was still popular in Las Vegas, he saw his musical career decline by the late 1960s. He had a No. 11 hit (No. 1 on the Easy Listening singles chart) with "I've Gotta Be Me" in 1969. He signed with Motown to update his sound and appeal to young people.[38]

1970s

[edit]
Davis at home in 1986

Davis had an unexpected No. 1 hit with "The Candy Man" with MGM Records in 1972. He did not particularly care for the song and was chagrined that he had become known for it, but Davis made the most of his opportunity and revitalized his career.[citation needed] Although he enjoyed no more Top 40 hits, he did enjoy popularity with his 1976 performance of the theme song from the Baretta television series, "Baretta's Theme (Keep Your Eye on the Sparrow)" (1975–1978), which was released as a single (20th Century Records).

On May 27–28, 1973, Davis hosted (with Monty Hall) the first annual 20-hour Highway Safety Foundation telethon. Guests included Muhammad Ali, Paul Anka, Jack Barry, Joyce Brothers, Ray Charles, Dick Clark, Roy Clark, Howard Cosell, Ossie Davis, Ruby Dee, Joe Franklin, Cliff Gorman, Richie Havens, Danny Kaye,[39] Jerry Lewis, Hal Linden, Rich Little, Butterfly McQueen, Minnie Pearl, Boots Randolph, Tex Ritter, Phil Rizzuto, The Rockettes, Nipsey Russell, Sally Struthers, Mel Tillis, Ben Vereen, and Lawrence Welk. It was a financial disaster. The total amount of pledges was $1.2 million. Actual pledges received were $525,000.[40]

Davis was also a self confessed lover of game shows, appearing on Family Feud in 1979 and Tattletales with his wife Altovise in 1975.

1980s

[edit]

Davis was a huge fan of daytime television, particularly the soap operas produced by the American Broadcasting Company. He made a cameo appearance on General Hospital and had a recurring role as Chip Warren on One Life to Live, for which he received a 1980 Daytime Emmy Award nomination. Davis was also a massive fan of Australian cult soap opera Prisoner: Cell Block H and in 1986 he famously visited the Network 10 studios in Melbourne. Davis watched several scenes being filmed and met with cast and crew. He described the experience as not knowing who was more starstruck - him for meeting the cast of Prisoner or the cast for meeting Davis.

In 1988, Davis was billed to tour with Frank Sinatra and Dean Martin, but Sinatra and Martin had a falling out.[41] Liza Minnelli replaced Martin on the tour dubbed as ''The Ultimate Event''.[42][43] During the tour in 1989, Davis was diagnosed with throat cancer; his treatments prevented him from performing.[44][45]

Political beliefs and activism

[edit]
Davis during the 1963 March on Washington

Davis was a registered Democrat and supported John F. Kennedy's 1960 election campaign as well as Robert F. Kennedy's 1968 campaign.[46] He went on to become a close friend of President Richard Nixon (a Republican) and publicly endorsed him at the 1972 Republican National Convention.[46] Davis also made a USO tour to South Vietnam at Nixon's request.

In February 1972, during the later stages of the Vietnam War, Davis went to Vietnam to observe military drug abuse rehabilitation programs and talk to and entertain the troops. He did this as a representative from President Nixon's Special Action Office For Drug Abuse Prevention.[47] He performed shows for up to 15,000 troops; after one two-hour performance he reportedly said, "I've never been so tired and felt so good in my life."[48] The U.S. Army made a documentary about Davis's time in Vietnam performing for troops on behalf of Nixon's drug treatment program.[49]

In the Yellow Oval Room of the White House with President Richard Nixon, March 4, 1973

Nixon invited Davis and his wife Altovize to sleep in the White House in 1973, the first time African Americans were invited to do so. The Davises spent the night in the Lincoln Bedroom.[50] Davis later said he regretted supporting Nixon, accusing him of making promises on civil rights that he did not keep.[51]

"By early 1973, a desperate Sy Marsh (Davis's agent) told (Jesse) Jackson that Davis really needed help getting out of the Nixon imbroglio (1972 reelection endorsement). "Jesse (Jackson) said, 'If you can come up with $25,000 for my charity (Operation PUSH), then (have Davis) come to Chicago,'" Marsh recalls."[52]

Davis later supported Jesse Jackson's 1984 campaign for president.[53]

Personal life

[edit]

Accident and conversion to Judaism

[edit]
Davis in the Western Wall, Jerusalem, during a tour in Israel, 1969.
Davis at the Western Wall, Jerusalem, during a tour of Israel, 1969

Davis nearly died in an automobile accident on November 19, 1954, in San Bernardino, California as he was returning to Los Angeles from Las Vegas.[54] During the previous year, he had started a friendship with comedian and host Eddie Cantor, who had given him a mezuzah. Instead of putting it by his door as a traditional blessing, Davis wore it around his neck for good luck; the only time when he forgot to wear it was the night of the accident.[55]

The accident occurred at a fork in U.S. Route 66 at Cajon Boulevard and Kendall Drive when a driver who had missed turning at the fork reversed her car in Davis's lane, causing Davis's car to strike hers.[56] Davis lost his left eye, which was damaged by the bullet-shaped horn button (a standard feature in 1954 and 1955 Cadillacs). His friend, actor Jeff Chandler, said that he would give one of his own eyes to keep Davis from total blindness.[57] Davis wore an eye patch for at least six months following the accident.[58][59] He was featured with the patch on the cover of his debut album and during an appearance on What's My Line? wearing the patch.[60] Later, Davis was fitted for a glass eye, which he wore for the rest of his life.

In the hospital, Cantor described to Davis the similarities between Jewish and Black cultures. Davis, born to a Catholic mother and Baptist father, was raised Catholic and began studying Jewish history as an adult, converting to Judaism several years later in 1960.[7][61][62] One passage from his readings (from the book A History of the Jews by Abram L. Sachar) describing the endurance of the Jewish people interested him in particular: "The Jews would not die. Three millennia of prophetic teaching had given them an unwavering spirit of resignation and had created in them a will to live which no disaster could crush."[63] The accident marked a turning point in Davis's career, taking him from a well-known entertainer to a national celebrity.[64]

Relationships and marriages

[edit]

In 1957, Davis was involved with actress Kim Novak, who was under contract with Columbia Pictures. Because Novak was white, Columbia president Harry Cohn worried that public backlash against the relationship could hurt the studio. There are several accounts of what happened, but they agree that Davis was threatened by organized crime figures close to Cohn.[65] According to one account, Cohn called racketeer John Roselli, who was told to inform Davis that he must stop seeing Novak. To try to scare Davis, Roselli had him kidnapped for a few hours.[66] Another account relates that the threat was conveyed to Davis's father by mobster Mickey Cohen.[65] Davis was threatened with the loss of his other eye or a broken leg if he did not marry a black woman within two days. Davis sought the protection of Chicago mobster Sam Giancana, who said that he could protect him in Chicago and Las Vegas but not California.[6][65][67]

Davis briefly married black dancer Loray White in 1958 to protect himself from mob violence;[65] Davis had previously dated White, who was 23, twice divorced, and had a six-year-old child.[6] He paid her a lump sum ($10,000 or $25,000) to engage in a marriage on the condition that it would be dissolved before the end of the year.[6][65] Davis became inebriated at the wedding and attempted to strangle White en route to their wedding suite. Checking on him later, Davis's personal assistant Arthur Silber Jr. found Davis with a gun to his head. Davis despairingly said to Silber, "Why won't they let me live my life?"[65] The couple never lived together[6] and commenced divorce proceedings in September 1958.[65] The divorce was granted in April 1959.[68]

Davis and May Britt in 1960

In 1959, Davis had "a short, stormy, exciting relationship" with Nichelle Nichols.[29][69]

Davis with his third wife, Altovise Gore, in 1986

In 1960, there was another racially charged public controversy when Davis married white Swedish-born actress May Britt in a ceremony officiated by rabbi William M. Kramer at Temple Israel of Hollywood. While interracial marriage had been legal in California since 1948, anti-miscegenation laws in the U.S. still stood in 23 states, and a 1958 Gallup poll revealed that only 4% of Americans supported marriage between black and white spouses.[70] During 1964 through 1966, Davis received racially motivated hate mail while starring in the Broadway adaptation of Golden Boy, in which his character is in a relationship with a white woman, paralleling his own interracial relationship. Although New York State had no laws against interracial marriage, debate about it was still ongoing in the country as Loving v. Virginia was being adjudicated. It was only in 1967 after the musical finished that anti-miscegenation laws in all states were ruled unconstitutional via the 14th Amendment adopted in 1868 by the U.S. Supreme Court.[71]

Britt and Davis's daughter Tracey Davis (July 5, 1961 – November 2, 2020)[72][73][74][75] alleged in a 2014 book that Davis was not permitted to perform at President Kennedy's inauguration because of his marriage to a white woman.[76] The snub was confirmed by director Sam Pollard, who revealed in a 2017 American Masters documentary that Davis's invitation to perform at the inauguration was abruptly canceled on the night of Kennedy's inaugural party.[77]

Davis and Britt adopted two sons, Mark and Jeff.[2][78] Davis performed almost continuously and spent little time with his wife. They divorced in 1968 after Davis admitted to an affair with singer Lola Falana.[45][79][80]

In 1968, Davis started dating Altovise Gore, a dancer in Golden Boy. They were married on May 11, 1970, by Jesse Jackson and adopted a son, Manny, in 1989.[45] They remained married until his death in 1990.[81] Toward the end of their marriage, Altovise Davis was sharing her mansion with Davis' girlfriend.[79]

Interests

[edit]

Davis was an avid photographer who enjoyed shooting pictures of family and acquaintances. His body of work was detailed in a 2007 book by Burt Boyar titled Photo by Sammy Davis, Jr.[82] "Jerry [Lewis] gave me my first important camera, my first 35 millimeter, during the Ciro's period, early '50s", Boyar quotes Davis as saying "And he hooked me." Davis used a medium format camera later on to capture images. Boyar reports that Davis had said, "Nobody interrupts a man taking a picture to ask... 'What's that nigger doin' here?'". His catalog includes rare photos of his father dancing onstage as part of the Will Mastin Trio and 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, and Martin Luther King Jr. His most revealing work comes in photographs of wife May Britt and their three children, Tracey, Jeff and Mark.[citation needed]

Davis was an enthusiastic shooter and gun owner who participated in fast-draw competitions. Johnny Cash recalled that Davis was said to be capable of drawing and firing a Colt Single Action Army revolver in less than a quarter of a second.[83] Davis was skilled at fast and fancy gunspinning and appeared on television variety shows showing his skill. He also demonstrated gunspinning to Mark on The Rifleman in "Two Ounces of Tin". He appeared in Western films and as a guest star on several television Westerns.

It has been alleged that in 1968, Davis attended a Satanist ceremony for the first time and that following his appearance in the 1973 comedy Poor Devil, he became an honorary warlock in the Church of Satan and was a friend of its high priest Anton LaVey. Davis is alleged to have continued to perform Satanic rituals even after cutting ties with the organization.[84] Actor and comedian Eddie Murphy said in 2019 that Davis was a devil worshipper who personally told him that "Satan is as powerful as God."[85][better source needed]

Health

[edit]

After Davis's marriage to May Britt ended in 1968, Davis turned to alcohol. He also "found solace in drugs, particularly cocaine and amyl nitrite" and experimented with pornography.[45][79]

After a bout with cirrhosis due to years of drinking,[41] Davis announced his sponsorship of the Sammy Davis Jr. National Liver Institute in Newark, New Jersey in 1985.[86]

Final illness and death

[edit]
Davis's grave in the Garden of Honor, Forest Lawn Glendale

In August 1989, Davis began to develop symptoms of cancer – a tickle in his throat and an inability to taste food.[87] Doctors found a malignant tumor in Davis's throat.[44][88] He was a heavy smoker and had often smoked up to four packs of cigarettes a day as an adult.[88] When told that surgery (laryngectomy) offered him the best chance of survival, Davis replied he would rather keep his voice than have a part of his throat removed; he was treated with definitive radiation therapy.[87] His larynx was later removed when his cancer recurred.[15][89] He was released from the hospital on March 13, 1990.[90]

Davis died of complications from throat cancer two months later at his home in Beverly Hills, California, on May 16, 1990, at age 64.[90] His funeral was attended by Little Richard and Stevie Wonder among others.[91] He was buried at Forest Lawn Memorial Park in Glendale, California. On May 18, 1990, two days after his death, the neon lights of the Las Vegas Strip were darkened for ten minutes as a tribute.[92] Several media outlets reported his death alongside Muppets creator Jim Henson, who died the same day.[93]

Estate

[edit]

Davis left the bulk of his estate, estimated at $4,000,000 (U.S.), to his widow Altovise Davis,[81][94] but he owed the IRS $5,200,000, which after interest and penalties had increased to over $7,000,000.[95][96] Altovise became liable for his debt because they had filed jointly and she had co-signed their tax returns.[79] She was forced to auction his personal possessions and real estate. Some of his friends in the industry, including Quincy Jones, Joey Bishop, Ed Asner, Jayne Meadows, and Steve Allen, participated in a fundraising concert at the Sands Hotel in Las Vegas.[95] Altovise and the IRS reached a settlement in 1997.[96] After she died in 2009, their son Manny was named executor of the estate and majority-rights holder of his intellectual property.[97]

Legacy

[edit]

Portrayals

[edit]

Honors and awards

[edit]

Shortly before his death in 1990, ABC aired the TV special Sammy Davis, Jr. 60th Anniversary Celebration, produced by George Schlatter. An all-star cast, including Frank Sinatra, Dean Martin, Michael Jackson, Whitney Houston, Eddie Murphy, Diahann Carroll, Clint Eastwood, and Ella Fitzgerald, paid tribute to Davis.[108] The show was nominated for six Primetime Emmy Awards, winning Outstanding Variety, Music or Comedy.[109]

Grammy Awards

[edit]
Year Category Song Result Notes
2002 Grammy Hall of Fame Award "What Kind of Fool Am I?" Inducted Recorded in 1962
2001 Grammy Lifetime Achievement Award Winner Posthumously
1972 Pop Male Vocalist "Candy Man" Nominee
1962 Record of the Year "What Kind of Fool Am I?" Nominee
1962 Male Solo Vocal Performance "What Kind of Fool Am I?" Nominee

Emmy Awards

[edit]
Year Category Program Result
1990 Outstanding Variety, Music or Comedy Special Sammy Davis Jr.'s 60th Anniversary Celebration Won
1989 Outstanding Guest Actor in a Comedy Series The Cosby Show Nominated
1980 Outstanding Cameo Appearance in a Daytime Drama Series One Life to Live Nominated
1966 Outstanding Variety Special The Swinging World of Sammy Davis Jr. Nominated
1956 Best Specialty Act — Single or Group Sammy Davis Jr. Nominated

Other honors

[edit]
Year Category Organization Program Result
2022 National Multicultural Western Heritage Museum Inducted
2017 Singer National Rhythm & Blues Hall of Fame Inducted
2008 International Civil Rights Walk of Fame Martin Luther King Jr. National Historic Site Inducted
2006 Las Vegas Walk of Stars[110] front of Riviera Hotel Inducted
1989 NAACP Image Award NAACP Winner
1987 Kennedy Center Honors John F. Kennedy Center for
the Performing Arts 		Honoree
1985 Worst Supporting Actor Golden Raspberry Awards Cannonball Run II (1984) Nominee
1977 Best TV Actor — Musical/Comedy Golden Globe Sammy and Company (1975) Nominee
1974 Special Citation Award National Academy of Television Arts and Sciences Winner
1968 NAACP Spingarn Medal Award NAACP Winner
1965 Best Actor — Musical Tony Award Golden Boy Nominee
1961 Man of the Year[111] American Guild of Variety Artists Winner
1960 Recording[112] Hollywood Walk of Fame Inducted

Discography

[edit]
Main article: Sammy Davis Jr. discography

Studio albums

Work on screen and stage

[edit]

Filmography

[edit]

Television

[edit]

Theater

[edit]

See also

[edit]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sammy Davis Jr.

View on Grokipedia
from Grokipedia
Samuel George "Sammy" Davis Jr. (December 8, 1925 – May 16, 1990) was an American entertainer renowned for his versatile talents as a singer, dancer, , , and impressionist, who rose from child performer to international stardom as a member of the alongside and . Born in , , to performers, Davis began performing at age two with his father's group, the , honing skills in , vocals, and that defined his high-energy, multi-faceted stage presence. In November 1954, Davis suffered a severe car accident that cost him his left eye, leading him to wear a glass prosthetic for the remainder of his life and prompting his conversion to Judaism in 1959, influenced by performer during recovery, as he identified parallels between and anti-Black . His career peaked in the 1960s with shows and films like Ocean's 11 (1960), Broadway success in Golden Boy (1964), and television specials earning an Emmy Award, though he navigated racial barriers by integrating audiences through Sinatra's influence while facing personal struggles including multiple marriages, cocaine addiction, and financial ruin. Davis died of throat cancer in , at age 64, after a lifetime of overcoming physical and societal adversities to embody show business resilience.

Early life

Family and childhood

Samuel George Davis Jr. was born on December 8, 1925, in Harlem Hospital, Manhattan, New York City. His father, Sammy Davis Sr., was an African American vaudeville dancer, and his mother, Elvera Sanchez, was a dancer of Puerto Rican heritage. Both parents performed in the Will Mastin troupe, initially leaving the infant Davis in the care of his paternal grandmother, Rosa Davis. Davis's parents separated around 1928, when he was three years old; his father gained custody to avoid losing him entirely and integrated him into the family act to keep him close during tours. From approximately age three, Davis traveled extensively with his father and uncle , a troupe leader, as part of the , forgoing formal schooling for a life immersed in performances across the . This nomadic upbringing exposed him early to stage routines, including tap dancing and impressions, under the direct guidance of his father and Mastin.

Vaudeville debut

Sammy Davis Jr. entered at age three, circa 1928, as a bit player in the Struttin’ Hannah from Savannah, performing alongside his father, , and the troupe leader . To circumvent child labor laws enforced by the New York for the Prevention of Cruelty to Children (Gerry Society), the young Davis was billed as ", the Dancing Midget," a 44-year-old dwarf, allowing him to execute non-speaking tap dances, buck-and-wing routines, and novelty steps without drawing regulatory scrutiny. The act, initially structured as Will Mastin’s larger ensemble before downsizing amid the , featured Davis's prodigious dancing and mimicry, which quickly drew audiences despite the era's in theaters. By 1936, economic pressures reduced the group to a core trio—Sammy Davis Sr., , and the younger Davis—renamed the , with the child often spotlighted as "Little Sammy" for his impressions and soft-shoe specialties. This formation toured U.S. circuits, including engagements opening for big bands like Tommy Dorsey's in 1941, honing Davis's multi-disciplinary skills in singing, dancing, and comedy amid grueling road schedules. Davis's early exposure, starting from these toddler performances, laid the foundation for his versatility, though the act's reliance on his juvenile appeal masked the physical toll of constant travel and performances into his teens. By age seven in 1933, he extended his stage work to film with shorts Rufus Jones for President and Seasoned Greetings, portraying a boy elected president and performing holiday-themed dances, respectively, which showcased his emerging charisma beyond live theaters.

Military service and racial experiences

Davis was drafted into the in 1943 at the age of 17 during and assigned to basic training at Fort Warren in . There, he faced intense racial harassment and physical abuse from white soldiers, many from the South, marking his first significant exposure to American racism after a sheltered upbringing in the integrated world of performances. Davis responded by fighting back repeatedly, stating later that he engaged in "a knockdown, drag-out fight every two days" to defend himself. Following these confrontations, he was reassigned from the Quartermaster Corps to military occupation code 442 as an " specialist" in an experimental integrated Special Services unit, where he organized and performed shows for troops. In this capacity, Davis entertained diverse audiences, observing that his performances temporarily bridged racial divides as soldiers focused on the rather than his race. These experiences heightened his awareness of and its societal impacts, shaping his future while he served until an honorable discharge in 1945.

Career

1940s: Post-war transition

Following his discharge from the United States Army in 1945 after serving in Special Services at Fort Warren in Cheyenne, Wyoming, Sammy Davis Jr. rejoined the Will Mastin Trio, comprising his father Sammy Davis Sr. and uncle Will Mastin, to resume touring across the United States in theaters, carnivals, and small clubs. The group, which had originated in vaudeville during the 1920s and 1930s, adapted to the post-war entertainment landscape where traditional vaudeville circuits were contracting due to the rise of television and film, prompting a pivot toward more intimate nightclub and revue formats. In late 1945 and into 1946, the trio opened for performers including Mickey Rooney, Lionel Hampton, and Billie Holiday, with a notable six-month booking on Rooney's traveling revue that exposed Davis to broader showmanship techniques and encouraged diversification beyond tap dancing. By 1947, the act had evolved to emphasize Davis's emerging talents in singing and impressions, rebranding as "The Will Mastin Trio Starring Sammy Davis Jr." to highlight his central role, a shift facilitated by audience demand and mentorship from established artists. That year, the trio appeared in the musical Sweet and Low, performing routines that showcased their synchronized tap and emerging vocal elements, marking one of their early post-war media exposures. They also opened for at New York City's Capitol Theatre, where Sinatra advised Davis to abandon impressions of white singers and perform in his natural voice, influencing the trio's repertoire toward authentic blues and jazz-infused numbers. Throughout the late 1940s, the trio increasingly targeted circuits amid vaudeville's decline, establishing regular engagements in —where Davis performed extended runs at venues like Amato's Supper Club—and pioneering appearances at casinos such as El Rancho, the Flamingo, and the Last Frontier, as well as Slapsie Maxie's in and Harlem's . These bookings reflected a pragmatic transition to sustained live variety shows in urban and resort settings, where the group's high-energy, multi-disciplinary format—combining dance, vocals, and comedy—resonated with audiences seeking post-war escapism, though persistent racial barriers limited access to prime slots and accommodations. This period laid the groundwork for Davis's solo ascent by honing his versatility and building regional followings ahead of broader national recognition in the .

1950s: Rise to stardom and

Following his discharge from the in the early 1950s, Sammy Davis Jr. transitioned to a solo nightclub act, leveraging his multifaceted talents in , dancing, impressions, and to build a distinct performing style. This shift marked the beginning of his independent rise, supported by mentorship from , with whom he had performed as an opener in 1947. On November 19, 1954, Davis suffered a severe car accident on the San Bernardino Freeway when his convertible collided with another vehicle, resulting in the loss of his left eye due to impalement on the ; he underwent and rehabilitation, which temporarily halted his career but ultimately deepened his personal resolve. He made a triumphant comeback on January 10, 1955, at Ciro's nightclub in , where audiences and celebrities including and celebrated his recovery. Davis released his debut solo album, Starring Sammy Davis Jr., in 1955 on , featuring covers like "" and "Because of You," which showcased his vocal versatility and helped establish his recording presence. In 1956, he starred in the Broadway musical Mr. Wonderful, which opened on March 22 at the and ran for 383 performances; tailored to highlight his skills, the production solidified his status as a leading entertainer. Television appearances, such as on The Steve Allen Show in 1956, amplified his visibility, demonstrating his impressions and dynamic stage presence to national audiences. He followed with the cast album from Mr. Wonderful and other releases like Sammy Swings, emphasizing his swing-era adaptability amid evolving musical tastes. Throughout the decade, Davis's deepening friendship with Sinatra—evident in incidents like Sinatra's intervention for his 1950 Copacabana booking despite racial barriers—laid the groundwork for his integration into Sinatra's social and professional circle. By the late 1950s, this association evolved into the informal "," a group including Sinatra, , , and , known for spontaneous, high-energy performances in that blended music, comedy, and camaraderie; Davis's role as the sole African American member highlighted both breakthroughs in within entertainment and the era's persistent segregation challenges. These collaborations boosted Davis's stardom, exposing him to broader audiences through joint nightclub sets and foreshadowing their filmed ventures.

1960s: Mainstream success

Davis continued his association with the into the early 1960s, appearing in the heist film released on August 10, 1960, where he portrayed Josh Howard alongside , , and others. This role built on his established nightclub and film presence, contributing to his visibility in mainstream Hollywood productions. Subsequent collaborations included in 1962 and in 1964, further solidifying his status as a versatile entertainer capable of blending music, , and acting. In 1964, Davis achieved significant Broadway success starring as the lead in the musical adaptation of Golden Boy, which opened on October 20, 1964, at the Majestic Theatre and ran for 568 performances until closing on March 5, 1966. The production, featuring music by and lyrics by Lee Adams, centered on an aspiring boxer navigating fame and an interracial romance, reflecting contemporary social tensions during the civil rights era. Davis's performance, highlighted by songs like "Night Song," drew large audiences and critical attention for his dynamic stage presence and . Expanding into television, Davis hosted The Sammy Davis Jr. Show, a variety series on ABC that aired 15 episodes in 1966, showcasing his talents through musical numbers, guest appearances, and sketches. This program marked one of his early forays as a television lead, appealing to a broad audience amid the era's growing medium popularity. Additional film roles, such as in A Man Called Adam (1966) where he played a troubled musician, and (1969), demonstrated his range in dramatic and musical contexts. These endeavors, combined with ongoing Las Vegas residencies, underscored Davis's mainstream breakthrough, transitioning him from supporting roles to starring positions across entertainment formats.

1970s: Professional setbacks

In the 1970s, Sammy Davis Jr.'s career suffered due to escalating and financial instability, which undermined his reliability and opportunities despite continued appeal. His heaviest period of alcohol and occurred between 1973 and 1977, leading to erratic onstage behavior, such as prematurely ending performances under the of completion after only two or three songs. This addiction culminated in severe liver and complications, requiring months-long hospitalization in the mid-1970s and further disrupting his schedule. Davis attempted to host the syndicated talk-variety program Sammy & Company from April 5, 1975, to March 19, 1977, featuring guests and musical segments, but the show was hindered by his visible intoxication and lack of coherence, contributing to its lackluster reception. Concurrently, a brief signing with Records proved mismatched, yielding no significant musical resurgence amid his broader decline in recording success. Financially, Davis accrued substantial IRS tax debts—exacerbated by profligate spending on an entourage, gifts, and lifestyle—despite earning millions from performances, rendering him perpetually cash-strapped and limiting major projects. These issues, rooted in personal mismanagement rather than market rejection, stalled his from the prior , though he maintained viability in live shows.

1980s: Revival and final projects

In the early 1980s, Sammy Davis Jr. staged a professional resurgence after overcoming and financial difficulties from the , resuming high-profile film roles and live tours. He reprised his character Morris Fenderbaum in the comedy , released on June 29, 1984, co-starring as Jamie Blake and featuring a cameo by as himself, marking the trio's final on-screen appearance together. The film grossed approximately $28 million domestically despite mixed reviews, capitalizing on the stars' established chemistry. A pivotal revival came in 1988 with the reunion tour alongside Sinatra and Martin, launching March 11 in , as a 29-city nostalgic swing through the U.S., emphasizing standards like "" and "" to sold-out crowds reminiscing about their 1960s Las Vegas heyday. Though the tour encountered logistical issues—Martin exited after three dates citing exhaustion and disputes over pay and accommodations, replaced by —it reaffirmed Davis's enduring appeal as a multifaceted performer, blending , dancing, and . Davis's final major project was the dance drama Tap, released October 6, 1989, where he played the seasoned tap dancer Little Mo opposite Gregory Hines's ex-convict Max Washington, showcasing intricate hoofing routines that highlighted Davis's vaudeville-honed skills amid a of redemption through performance. The film received praise for its authentic tap sequences, with Davis's mentorship role drawing on his real-life expertise, though it earned modest returns of about $1.7 million. Following a cancer diagnosis in August 1989, Davis underwent and while completing promotional duties, but his health decline curtailed further work until his death on May 16, 1990.

Political views and activism

Civil rights participation

Sammy Davis Jr. actively supported the civil rights movement through performances, fundraisers, and public advocacy, leveraging his celebrity status to aid organizations like the Southern Christian Leadership Conference (SCLC). In January 1961, he organized a Carnegie Hall tribute concert for Martin Luther King Jr., featuring Rat Pack associates Dean Martin and Frank Sinatra, which raised significant funds for civil rights causes. He performed at King's "Freedom Rally" in Los Angeles on June 18, 1961, and continued supporting SCLC events by providing entertainment and financial contributions. Davis participated in key demonstrations, including the March on Washington for Jobs and Freedom on August 28, 1963, where he joined celebrities like Paul Newman amid an estimated 200,000 to 300,000 attendees. Earlier that month, in August 1963, he performed a concert in Birmingham, Alabama, with King to fundraise specifically for the march. He also took part in the March on Montgomery in 1965, performing to bolster voter registration efforts following Selma voting rights campaigns. To combat segregation, Davis refused to perform at venues enforcing racial barriers, a stance that pressured integration in Las Vegas and Miami Beach clubs during the 1950s and early 1960s; his leverage as a top draw compelled owners to desegregate to secure his appearances. In December 1963, he organized the "Stars for Freedom" benefit at Santa Monica Civic Auditorium, uniting entertainers to support civil rights initiatives amid ongoing struggles like those in Birmingham. These actions stemmed from personal experiences with racism, including post-World War II discrimination, positioning Davis as a bridge between entertainment and activism without direct street-level organizing.

Shift to Republican support

Sammy Davis Jr., previously aligned with the Democratic Party and supportive of John F. Kennedy's 1960 presidential campaign, experienced a notable shift toward Republican affiliation by the early . This transition was precipitated by personal disillusionments, including being booed by Southern Democratic delegates at the due to his engagement to white actress , which strained his relations with Democratic figures. Further cooling occurred with the Kennedy administration, amid perceptions of neglect following his civil rights involvement. In 1972, Davis publicly endorsed President Richard Nixon's reelection, marking a decisive break from his Democratic past. On August 22, 1972, during a Young Voters for the President rally in Miami Beach, he embraced Nixon onstage, an act captured in widely circulated imagery that symbolized his support. Davis also donated $10,000 to a Republican National Black Committee dinner attended by Nixon and participated in campaign advertisements, articulating belief in the as realized in his own life. Davis cited admiration for Nixon's policies on law and order, economic opportunities, and outreach to black communities as factors in his endorsement, viewing the president as genuinely committed to racial progress despite criticisms. This stance drew immediate backlash, including death threats and professional repercussions from some black leaders and entertainers who accused him of betraying civil rights principles, though Davis maintained it stemmed from pragmatic assessment of Nixon's record on appointments and initiatives like the Philadelphia Plan for minority contracting.

Endorsement of Nixon and resulting controversies

In 1972, Sammy Davis Jr., a lifelong Democrat and prominent figure in civil rights circles, publicly endorsed President 's re-election campaign, a decision that diverged sharply from the predominant support among African American entertainers and activists for the Democratic Party. He served as master of ceremonies at the in Beach and, on August 22, 1972, embraced Nixon onstage during a Young Voters for the President rally at , an image that symbolized his support. This endorsement extended to performances at Nixon fundraisers and appearances defending the president's outreach to minority communities. The endorsement provoked immediate and intense backlash, particularly from within the African American community, where Nixon was viewed skeptically for his and perceived resistance to aggressive civil rights enforcement, despite his administration's desegregation efforts in schools. Civil rights leaders and fellow entertainers accused Davis of betraying racial solidarity, leading to boycotts of his performances, severed professional ties, and personal vitriol that labeled him a "traitor" to the cause. Death threats escalated to the point that Davis's secretary received mail containing razors and warnings, prompting heightened security measures. Davis justified his stance by citing a personal friendship with the Nixons, forged through shared experiences of overcoming , and Nixon's concrete actions, such as appointing to high positions and enforcing school integration orders more vigorously than prior administrations—over 70% of Southern schools desegregated under his watch. However, speculation persisted that financial pressures, including substantial IRS debts exceeding $1 million from back taxes, influenced his alignment, with unverified claims that Nixon's team offered relief in exchange for support. By October 1973, amid the Watergate scandal's unfolding revelations of Nixon's abuses of power—including enemies lists and covert operations—Davis publicly renounced his endorsement, expressing regret over unfulfilled promises on civil rights advancement and withdrawing from Republican events. This reversal drew mixed reactions: some saw it as opportunistic amid Nixon's plummeting approval, while others viewed it as a principled response to evidence of ethical lapses, though it did little to fully repair rifts in his standing within black entertainment circles. The episode highlighted tensions between individual political agency and communal expectations in mid-20th-century African American public life.

Personal life

Marriages and relationships

Sammy Davis Jr.'s first marriage, to dancer Loray White, took place on January 31, 1958, in a Las Vegas ceremony. The union lasted approximately eight months before ending in divorce and was later described as a marriage of convenience, arranged amid pressure to end his publicized interracial relationship with actress Kim Novak. Davis began dating Novak in 1957, but the affair drew intense backlash due to prevailing racial taboos, prompting threats from Columbia Pictures executive Harry Cohn to derail Davis's career unless it ceased. Cohn reportedly mobilized mob connections to enforce the split, leading Davis to propose to White, an acquaintance, with a financial of $10,000 to $25,000. Novak later confirmed the relationship's brevity and denied marriage intentions, attributing its end to external coercion rather than personal rejection. His second marriage, to Swedish actress May Britt, occurred on November 13, 1960, in a private Los Angeles ceremony, marking another high-profile interracial union that elicited death threats and bomb scares on their wedding day. The couple had one biological daughter, Tracey (born November 1961), and adopted two sons, Mark and Jeff. Britt filed for divorce in August 1968, citing an absence of family life during their seven-year marriage, with the dissolution finalized that December. Davis married dancer Altovise Gore on May 11, 1970, in a courthouse ceremony officiated by . They adopted a son, Manny, in 1989 and remained together until Davis's death in 1990, spanning two decades amid his career fluctuations and health struggles.

Conversion to Judaism

Following a car accident on November 19, 1954, near , in which he lost his left eye, Sammy Davis Jr. developed an interest in . While hospitalized, entertainer visited and emphasized historical parallels between the oppression of Black Americans and , prompting Davis to explore the faith. Friends and presented him with a medallion, which he gripped tightly, leaving a permanent on his palm as a symbol of his budding affinity. Davis began studying Judaism under Rabbi Max Nussbaum of Temple Israel in Hollywood, who advised a deliberate process without haste. By 1959, he publicly identified as Jewish, refusing to work on Yom Kippur during film production. He underwent formal giyur (conversion) in 1960, shortly before marrying Swedish actress , who had converted under Nussbaum's supervision; the couple wed under a . Davis cited shared experiences of marginalization as a key reason, stating that "being a Jew [was] the most logical thing in the world." Though not strictly observant due to his performing career, Davis attended services, observed some holidays, and prioritized for his children after his from Britt. His conversion elicited varied responses: many Jews welcomed him, but the community never fully embraced him, influenced by his celebrity status and racial identity; some audiences booed him onstage, viewing it as a rejection of racial .

Substance abuse and health decline

Davis's struggles with substance abuse intensified after his 1968 divorce from , leading him to heavy alcohol consumption and experimentation with drugs including and . The period from 1973 to 1977 represented the peak of his addiction, characterized by excessive use that prompted to limit social interactions with him due to disapproval of the habit. Although Davis later ceased use, his alcohol dependency persisted, exacerbating personal and professional instability amid ongoing losses estimated in the millions. Chronic heavy smoking—reportedly up to four packs daily—and sustained alcohol intake over decades directly contributed to the development of throat cancer, diagnosed in August 1989 when a tumor was detected. Opting against surgery that risked permanent voice loss and partial laryngectomy, Davis underwent eight weeks of radiation therapy, achieving temporary remission by late 1989. The cancer recurred in early 1990, prompting cancellation of performances and cessation of further chemotherapy as his condition deteriorated rapidly. On May 16, 1990, Davis succumbed to complications from the throat cancer at his home, aged 64, following hospitalization for and subsequent organ failure. His untreated addictions had compounded vulnerability to such tobacco- and alcohol-linked malignancies, as evidenced by the aggressive progression despite intervention.

Family dynamics

Sammy Davis Jr. was born on December 8, 1925, in , New York, to vaudeville dancers and , who divorced when he was approximately two years old. Following the divorce, Davis Sr. gained custody, and the young Sammy Jr. was primarily raised by his paternal grandmother, Rosa Davis, while touring extensively with his father's act, the , starting at age three. This arrangement forged a tight professional partnership with his father, who served as both mentor and disciplinarian, but it curtailed typical childhood experiences and contact with his mother, Elvera, who pursued her own performing career. In adulthood, Davis's family dynamics mirrored the instability of his upbringing, shaped by his relentless touring schedule and celebrity lifestyle. He and his first wife, , married in 1960 and had one biological daughter, Tracey Alexis Davis, born July 5, 1961, while adopting two sons, Mark Sidney in November 1960 and Jeffrey in 1963. Tracey's 2014 memoir recounts an absentee father whose career demands often left the children feeling secondary, though she emphasized his expressions of love and their eventual reconciliation in the , which deepened their relationship until his death. Davis's second marriage to Altovise Gore in 1970 produced no biological children but included the of son Manny Davis. The family's cohesion was tested by Davis's professional absences and personal struggles, yet accounts from his children highlight enduring familial affection amid the challenges of fame, with post-divorce co-parenting arrangements enabling continued involvement with Tracey, Mark, and . Overall, these dynamics reflected a pattern of show-business prioritization over domestic stability, common among performers of the era, balanced by intermittent efforts to nurture bonds.

Death and immediate aftermath

Sammy Davis Jr. died on May 16, 1990, at his home in , at the age of 64, from complications of throat cancer. The illness stemmed from his decades-long habit of chain-smoking, which contributed to the development of the malignancy. Diagnosed in 1989, Davis underwent to remove part of his and lymph nodes, followed by and , but the cancer recurred fatally in 1990. His funeral service took place on May 18, 1990, at Forest Lawn Memorial Park in , where he was subsequently buried. The event, one of Hollywood's most elaborate, attracted thousands of mourners, including celebrities from the entertainment industry and political figures, with eulogies describing Davis as "the greatest entertainer who ever lived." The service was broadcast live on , featuring prayers, musical tributes, and remembrances from close associates. In the immediate aftermath, Davis's death prompted widespread tributes highlighting his versatility as a performer and his trailblazing role in American entertainment, though his estate faced insolvency, necessitating the sale of personal memorabilia to fund the and related expenses. No major public controversies emerged directly tied to his passing, with focus remaining on his legacy amid expressions of grief from peers and fans.

Estate and financial legacy

Insolvency at death

Despite earning over $50 million during his career, Sammy Davis Jr. died on May 16, 1990, leaving an estate that was deeply insolvent, with total debts estimated at $15 million exceeding his assets. More than half of these obligations, approximately $7.5 million, were owed to the Internal Revenue Service for back taxes and penalties, marking one of the largest individual tax liens at the time. The remaining liabilities included personal loans, failed investments such as a $350,000 loss in oil and gas ventures that triggered additional tax delinquencies, and ongoing expenses from a lifestyle marked by extravagance. Davis had attempted to address his financial distress in his final years, negotiating payment plans with IRS officials for monthly installments of $50,000 and embarking on a grueling tour to generate income, but his terminal throat cancer prevented sustained recovery. Upon his death, the estate's insolvency led to immediate liens that stripped control of his intellectual property, including music rights, leaving his widow Altovise Davis—who had cosigned his tax returns—personally liable and facing the highest IRS tax lien then recorded against a celebrity estate. This situation exemplified how unchecked spending, investment missteps, and deferred tax obligations could erode even substantial entertainment earnings, rendering the estate unable to cover basic administrative costs or creditor claims without external intervention.

Posthumous management and disputes

Following Sammy Davis Jr.'s death on May 16, 1990, his widow Altovise Davis assumed management of the estate as executor, which was immediately declared insolvent with liabilities exceeding $5 million, including $5.2 million in unpaid federal taxes. To address these debts, Altovise authorized the public auction of Davis's personal possessions, artwork, and jewelry, as well as the sale of their Beverly Hills residence. By 1999, she negotiated a settlement with the Internal Revenue Service over the accumulated tax obligations—totaling $7.5 million with penalties and interest—granting her sole control over Davis's intellectual property, including rights to his life story, music catalog, and publicity image. Disputes arose involving alleged mismanagement and unauthorized deals. In May 2000, Davis's children from his first marriage—Tracey, Mark, and Jeff—filed court claims accusing Universal Studios of exploiting the estate through a fraudulent licensing agreement for Davis's likeness in merchandise and media, purportedly without proper family consent or fair compensation. Separately, in January 2008, Altovise initiated a federal lawsuit against former business associates Gregory LaCava and Michael S. , asserting they misrepresented their entertainment industry expertise to induce her into contracts that transferred partial control of Davis's name, image, and biographical rights for minimal benefit to the estate. These actions highlighted ongoing tensions over licensing revenue and creative control, with Altovise claiming the partners blocked lucrative opportunities, such as a potential biopic deal. Family conflicts intensified after Altovise's death from complications on March 14, 2009, as heirs contested aspects of her will and the estate's lingering encumbrances. Legal challenges alleged by advisors during her later years, though a 2010 probate ruling upheld her LegalZoom-drafted will, distributing assets primarily to a foundation in Davis's name while perpetuating disputes over residual income. Such infighting delayed monetization of Davis's legacy materials, including unpublished manuscripts and recordings, amid claims of protracted litigation eroding potential value for beneficiaries.

Recent estate activities

The Sammy Davis Jr. Estate, administered by family members including his Manny Davis, has prioritized and public engagement in recent years to honor his legacy amid preparations for his 100th birth centennial in 2025. On May 16, 2025—the 33rd anniversary of Davis's death—the estate launched an official at sammydavisjr.com to archive performances, share historical materials, announce events, and promote merchandise tied to the centennial celebrations. The site solicits fan-submitted memorabilia and stories to expand its collections. In December 2022, the estate announced the public opening of Davis's gravesite at Forest Lawn Memorial Park in , effective from 2023 onward, coinciding with observances of his 97th birthday and facilitating visitor access to the site. The estate maintains an active official account (@officialsammydavisjr), which as of October 2025 continues to post rare footage, such as 1956 recording promotions, and incorporates newly acquired archival content into its holdings. This online presence supports ongoing legacy management without reported major disputes since earlier posthumous settlements.

Artistic works

Discography highlights

Sammy Davis Jr. recorded over 50 albums spanning , pop, Broadway standards, and other genres across labels including Decca, , Verve, , and from the through the . He achieved 18 entries on the singles chart and 13 albums on the Billboard Top 200 albums chart. His recordings often featured collaborations with arrangers like and musicians such as Count Basie, emphasizing his versatile vocal style blending swing, ballads, and show tunes. The pinnacle of his chart success came with the single "The Candy Man," which topped the for three weeks in June 1972, holding the position for a total chart run of 20 weeks and earning gold certification. Earlier hits included "Love Me or Leave Me," peaking at No. 2 in 1955; "," reaching No. 5 in 1954; and "Something's Gotta Give," at No. 9 in 1955. Other notable singles were "" (No. 11, 1968), "What Kind of Fool Am I?" (No. 17, 1962), and "" (No. 13, 1955).
SingleBillboard Hot 100 PeakYear
The Candy Man11972
Love Me or Leave Me21955
51954
Something's Gotta Give91955
111968
Davis's album highlights began with Starring Sammy Davis Jr. (Decca, 1955), which reached No. 1 on the for six weeks and charted for 27 weeks overall. On , standout releases included The Wham of Sam (1962), showcasing his jazz-inflected vocals; As Long as She Needs Me (1963); and Sammy Davis Jr. Belts the Best of Broadway (1965), featuring interpretations of stage musical numbers. Later efforts like I've Gotta Be Me (1969) and the live The Sounds of '66 captured his dynamic stage presence in studio and performance settings. These works highlighted his range but rarely matched the commercial dominance of his early singles or the 1972 resurgence.

Film and television appearances

Sammy Davis Jr. entered film in the late with supporting roles in musicals and dramas, leveraging his singing and dancing talents. His breakthrough came in (1959), where he portrayed Sportin' Life, earning praise for his performance in the opera adaptation directed by . He gained wider fame through four films alongside and : (1960) as Josh Howard, a heist comedy about robbing casinos; (1962), a Western remake of ; (1963); and (1964), a gangster musical set in . These collaborations showcased his comedic timing and camaraderie within the group, though critics often noted the films prioritized entertainment over depth. Later films included dramatic leads like A Man Called Adam (1966), where he played a troubled jazz trumpeter, and action-comedies such as Salt and Pepper (1968) as club owner Charles Salt. In the 1980s, he appeared in ensemble comedies like The Cannonball Run (1981) and its sequel (1984) as Morris Fenderbaum, a role emphasizing his humor and physical comedy. His final major film role was in Tap (1989), portraying Little Mo, a tap dance mentor, which highlighted his lifelong dance expertise amid a comeback narrative.
YearTitleRoleNotes
1959Porgy and BessSportin' LifeMusical adaptation; showcased .
1960Josh Howard heist film.
1962Jonah Western.
1964Will Scarlett musical.
1966A Man Called AdamAdam JohnsonLead dramatic role.
1968Charles SaltBuddy comedy; executive producer.
1969Big Daddy BrubeckMusical with choreography.
1981Morris FenderbaumCross-country race comedy.
1989TapLittle MoTap dance drama; final starring role.
Davis made extensive television appearances, primarily as a guest performer on variety and talk shows, capitalizing on his multifaceted skills. He starred in the short-lived variety series The Sammy Davis Jr. Show during the summer of 1966 on , featuring musical numbers and celebrity guests, which aired for 15 episodes but struggled with ratings. Notable guest spots included (1972) as himself, interacting with in a crossover episode; (1966) in a dramatic role; and (1978) as himself aiding the investigators. He also headlined TV movies like The Trackers (1971), playing a bounty hunter and serving as producer, and appeared in specials such as The Pigeon (1969). Frequent visits to , The Tonight Show Starring , and demonstrated his versatility in live performance formats. These outings often emphasized his impressions, songs, and dances, reinforcing his status as a top-tier entertainer despite occasional .

Stage and theater roles

Sammy Davis Jr.'s stage career included several Broadway productions that highlighted his singing, dancing, and acting talents, beginning with his debut in the musical Mr. Wonderful. This original show, crafted specifically as a vehicle for Davis, opened on March 22, 1956, at the and ran for 383 performances until February 23, 1957. Davis portrayed Charlie Welch, an entertainer navigating show business challenges, alongside co-stars including and , with the also featured. In 1964, Davis starred in the musical adaptation of ' play Golden Boy, taking the lead role of Joe Wellington, a young Black boxer entangled in an interracial romance with his white manager's girlfriend—a bold theme amid the civil rights era. The production premiered on October 20, 1964, at the Majestic Theatre, earning a Tony Award nomination for Best Musical and a nomination for Davis as Best Leading Actor in a Musical; it concluded its run on March 5, 1966, after 569 performances. Davis returned to Broadway in shorter engagements later, including Sammy, a revue-style production where he appeared as himself, which ran from April 23 to May 4, 1974, at the U.S. City Center. He also headlined a revival of Stop the World—I Want to Get Off as Littlechap from August 3 to August 27, 1978, at the Ambassador Theatre, showcasing his versatility in the role originally created by . These roles underscored Davis's ability to carry star-driven musicals, though none matched the longevity of his earlier hits.

Honors and recognition

Grammy and Emmy awards

Sammy Davis Jr. received three Grammy Award nominations but no competitive wins during his lifetime. These included Best Pop Vocal Performance, Male for the single "The Candy Man" at the 15th Annual Grammy Awards in 1972, as well as nominations for "What Kind of Fool Am I?" at the 5th Annual Grammy Awards in 1962 and another unspecified category. In 2001, he was posthumously awarded the Grammy Lifetime Achievement Award, recognizing his overall contributions to recording. For , Davis was nominated twice for his television performances but did not win a personal competitive Emmy. However, the special Sammy Davis Jr.'s 60th Anniversary Celebration, which he produced and in which he starred prior to his death on May 16, 1990, won Outstanding Variety, Music or Comedy Special at the on August 26, 1990. The program also received recognition in related categories, including nominations for Outstanding Achievement in Music and Lyrics and Outstanding Music Direction. Davis co-hosted the 17th ceremony on September 12, 1965, alongside , marking a notable hosting role but not an award win.

Other accolades

In 1960, Davis received a star on the at 6254 , recognizing his contributions as a multifaceted entertainer. In 1968, the National Association for the Advancement of Colored People awarded him the for his exceptional talent across performance disciplines and his support for civil rights initiatives. This honor, established to acknowledge distinguished achievements by , highlighted Davis's role in breaking racial barriers in entertainment venues and media. Davis earned additional recognitions for his versatility, including Cue Magazine's Entertainer of the Year in 1964 and B’nai B’rith International's Man of the Year in 1965, reflecting his broad appeal amid cultural shifts in American . In 1979, he was presented with the Lifetime Achievement Award by the American Black Achievement Awards, honoring his enduring influence on Black performers navigating integrated stages and audiences. The 1987 Kennedy Center Honors marked a pinnacle of institutional acclaim, celebrating Davis's lifetime contributions to American culture through dance, song, acting, and comedy; the event featured tributes underscoring his technical mastery and pioneering status in a racially divided industry. Other notable distinctions included honorary doctorates in fine arts from Wilberforce University in 1971 and in literature from Atlanta University in 1981, alongside the NAACP Image Award in 1989 and Variety Club International's Humanitarian of the Year in the same year, affirming his philanthropy and professional longevity.

Posthumous honors

In 2001, Sammy Davis Jr. received the Grammy Lifetime Achievement Award from the Recording Academy, recognizing his overall contributions to the recording industry despite never winning a competitive Grammy during his lifetime. The following year, in 2002, his 1962 recording of "What Kind of Fool Am I?" from the musical Golden Boy was inducted into the Grammy Hall of Fame, honoring recordings of lasting historical, artistic, or cultural significance that are at least 25 years old. Davis was inducted into the International Civil Rights Walk of Fame in 2008, acknowledging his civil rights activism, including his participation in the 1963 March on Washington and his friendships across racial lines in an era of segregation. In 2017, he was posthumously inducted into the National Rhythm & Blues Hall of Fame, celebrating his influence on through performances blending , pop, and swing elements.

Cultural legacy

Influence on entertainment

Sammy Davis Jr. exerted significant influence on the entertainment industry through his mastery of multiple disciplines, including singing, dancing, acting, comedy, and impressions, setting a standard for versatile performers in an era when specialization was more common. His ability to blend tap dancing with acrobatics and percussion, often drawing from Black dance traditions while incorporating broader influences, inspired subsequent generations of entertainers to pursue multifaceted careers. Davis's stage presence, characterized by high-energy routines and rapid shifts between skills, contributed to the evolution of live performance standards, particularly in nightclubs and theaters where he demonstrated proficiency in instruments like the trumpet alongside vocal and comedic talents. As a member of the alongside , , and others during the late 1950s and early 1960s, Davis helped transform into a premier hub by infusing shows with glamour, , and camaraderie that drew massive audiences and elevated the city's nightlife profile. Their performances at venues like the Sands Hotel popularized a loose, interactive format that influenced modern residency shows and variety acts, emphasizing personality-driven over scripted rigidity. Davis's inclusion in the group, despite prevailing , played a pivotal role in pressuring establishments to integrate, as his star power and Sinatra's advocacy led to policy shifts allowing Black performers headline status, thereby broadening access for future minority artists in casino theaters. Davis's career also advanced racial integration in show business by achieving mainstream success in a segregated landscape, headlining major venues and films like in 1960, which showcased interracial casts and normalized diverse ensembles in Hollywood productions. His perseverance following a 1954 car accident that cost him an eye—yet did not halt his dynamic performances—highlighted resilience, influencing industry views on physical limitations and encouraging adaptive techniques among performers with disabilities. By the mid-1960s, Davis ranked among the world's most recognizable Black figures, using his platform to challenge norms without overt activism, which indirectly facilitated opportunities for talents like and later crossover stars in music and film. This barrier-breaking trajectory, rooted in talent over accommodation, underscored causal links between individual excellence and systemic change in access.

Portrayals and revivals

portrayed Sammy Davis Jr. in the 1998 HBO television film The Rat Pack, depicting the entertainer's involvement with and during the 1960s. Cheadle's performance earned him a Golden Globe Award for Best Supporting Actor in a Series, , or at the 1999 ceremony. A limited series centered on Davis's life, starring in the title role and developed by for , was ordered in 2022 but canceled by the streamer in December 2023, with producers planning to shop it elsewhere. Posthumous revivals of Davis's legacy have primarily taken the form of tribute productions and Rat Pack-themed stage shows, where performers emulate his singing, dancing, and impressions. The Black Ensemble Theater in Chicago premiered Sammy: A Tribute to Sammy Davis, Jr. in 2017, a musical revue highlighting his career milestones, which received positive reviews for recapturing his multifaceted talents. Similarly, touring productions like Rat Pack Now feature impersonators recreating Davis alongside Sinatra and Martin figures, performing hits such as "Mr. Bojangles" and "The Candy Man" to evoke the group's Las Vegas era. These shows, often mounted in theaters and casinos, sustain interest in Davis's energetic style without staging revivals of his original Broadway vehicles like Golden Boy. One-off tributes, such as a 2025 performance at Sid Gold's in Washington, D.C., continue this tradition, drawing audiences nostalgic for his showmanship.

Balanced assessment of impact

Sammy Davis Jr.'s impact on American entertainment was profound yet multifaceted, marked by his unparalleled versatility as a singer, dancer, actor, comedian, and multi-instrumentalist, which helped integrate Black performers into mainstream venues during an era of segregation. His participation in the Rat Pack alongside Frank Sinatra, Dean Martin, and others from the late 1950s onward demonstrated Black excellence in high-profile, cross-racial collaborations, paving the way for subsequent generations of entertainers to transcend racial barriers in Las Vegas showrooms and Hollywood films. Over a 60-year career starting in childhood vaudeville, Davis sold millions of records, starred in over 20 films, and performed for civil rights causes, including events supporting Martin Luther King Jr., thereby using his platform to advocate for racial tolerance. However, Davis's legacy is tempered by personal and professional shortcomings that undermined his enduring influence. His desperate pursuit of white approval often led to self-debasing behaviors, such as mimicking stereotypes or tolerating racist abuse, fostering perceptions of rather than confrontation with systemic . Political endorsements, notably his support for in 1972—including a controversial embrace at the —alienated segments of the Black community and civil rights advocates, damaging his image as a racial trailblazer. Despite earning an estimated $50 million, chronic , , and poor financial management left him impoverished and indebted to the IRS at his death on May 16, 1990, from throat cancer at age 64, linked to decades of heavy smoking. Critically, while Davis's technical skills influenced variety acts, his vocal and artistic contributions are sometimes viewed as secondary to contemporaries like Sinatra, with hits like "The Candy Man" (1972), which reached No. 1 on the Billboard Hot 100, dismissed by Davis himself as inferior work rushed in two takes. His legacy persists more as a symbol of resilience amid adversity—including losing an eye in a 1954 car accident and enduring Army racism—than as an unmatched innovator, with modern prominence overshadowed by scandals and the evolution of entertainment toward specialized genres. Ultimately, Davis advanced causal integration in show business through sheer talent and persistence, but his impact was constrained by choices prioritizing assimilation over activism and personal excesses over stability.

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