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Sammy Davis Jr.: Talent, Access, and the Las Vegas Showroom

Sammy Davis Jr. could carry an evening as a singer, dancer, impressionist, comedian, instrumentalist, and host. Las Vegas gave that range an unusually powerful setting, but it also exposed a fundamental contradiction: a Black performer could be welcomed onstage while denied the ordinary privileges of a hotel guest.

Compiled by Casino Time CapsuleResearch and editorial by Oscar Lappalainen
4 minute read6 chaptersLas Vegas · national career
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Why this history matters

His career should not be reduced to a supporting role in the Rat Pack. It is a history of a complete entertainer who became a defining casino personality, challenged restrictions, and eventually crossed into resort ownership.

Chapter 01

The Will Mastin Trio Arrives on the Strip

A contemporary advertisement identified by historian Michael Green scheduled the Will Mastin Trio, starring Sammy Davis Jr., at El Rancho Vegas on May 15, 1946. Other recollections suggest different early dates, but the advertisement securely places him in Las Vegas by that point.

The trio grew from a long working history in which performance was a family and professional discipline. Sammy's later apparent spontaneity rested on years of experience reading audiences, handling music, and moving between comedy and dance.

El Rancho was itself a resort of cottages, dining, recreation, and gaming. Performing there brought the act into the developing Strip economy, where a successful attraction could help sell an entire hotel visit.

Sources for this section[1] Nevada Yesterdays, Part 1[2] Vocal Group Hall of Fame[71] Nevada State Museum — El Rancho Vegas[74] UNLV billing document for the Will Mastin Trio, starring Sammy Davis Jr.
Chapter 02

Applause Did Not Mean Equal Access

Black entertainers faced restrictions on rooms, restaurants, gambling, and ordinary guest access at resorts that employed them. The Westside provided accommodation and social life excluded from the Strip's public image.

Sammy's success created opportunities to push against that system, but integration was not the work of one celebrity or one friendship. Black residents, activists, the NAACP, hotel operators, and performers all belong in the story. Accounts that credit Sinatra alone erase that larger effort.

The integrated Moulin Rouge, opened in 1955, provided a different example. Its late-night entertainment drew performers after their Strip shows and briefly created a meeting place across the city's racial boundaries. The broader struggle continued beyond the hotel's short operating life and through the 1960 desegregation agreement.

Sources for this section[61] Claytee D. White interview transcript[67] PBS American Experience — African Americans in Las Vegas[68] National Park Service — Moulin Rouge Hotel[69] UNLV — Integrating Las Vegas and the Entertainers Who Helped It Happen[70] Nevada Magazine — “The Summit and Civil Rights”
Chapter 03

How One Performer Filled the Evening

Sammy moved among songs, impressions, comic conversation, tap, and instrumental performance. The point was not simply that he possessed many talents, but that he could connect them into a fluid show.

A contemporary 1959 Esquire profile describes a recognizable structure that changed in response to the audience. Signals to conductor Morty Stevens could redirect the next number. Prepared material and live judgment worked together.

The Sands Copa Room became a major setting for this approach. Recordings from the 1960s preserve transitions and audience response as well as songs. They offer evidence of an act built around pacing and contact, not merely a sequence of signature numbers.

Sources for this section[36] October 1959 Esquire profile[37] Photograph of Sammy Davis Jr. performing in the Copa Room at the Sands, 1966[95] That's All! recording history[96] The Sounds of '66 recording history[98] AllMusic — The Sounds of '66
Chapter 04

The Sands and the Social Showroom

At the Sands, Sammy's relationships with Frank Sinatra, Dean Martin, and others became part of the room's attraction. Joint appearances could make the audience feel present at a gathering rather than a rigidly separated variety bill.

That social image should not diminish his solo work. The Sands repeatedly booked him as a headliner, and photographs and promotional records document an extensive performance history independent of famous group appearances.

Nor should familiarity erase inequality. His place in the city's entertainment world was exceptional precisely because talent and visibility existed alongside barriers that other guests did not face. The achievement was both artistic and civic.

Sources for this section[3] January 11–February 7, 1967 Sands listing[36] October 1959 Esquire profile[55] UNLV finding aid for the Sands Hotel Public Relations Photograph Collection[58] PBS American Masters — Sammy Davis Jr.: I've Gotta Be Me[69] UNLV — Integrating Las Vegas and the Entertainers Who Helped It Happen
Chapter 05

From Attraction to a Share in the Tropicana

In the early 1970s, Sammy acquired an eight-percent interest in the Tropicana, a significant move for a Black entertainer in the Strip's ownership history. Surviving accounts support the stake and its importance, although the exact approval and transaction sequence should not be flattened into a single unquestioned date.

His move reflected the economic power of major performers. A star could become associated with a room's identity and seek influence beyond the performance contract. At the same time, owning a share did not mean personally managing every casino operation.

Later Caesars Palace engagements and Sammy & Company linked the live showroom with television. He continued to adapt across venues and formats rather than remaining permanently in the Sands era.

Sources for this section[57] UNLV Tropicana Hotel and Casino Records, MS-01186[75] Associated Press — Tropicana and Sammy Davis Jr.'s ownership[76] KNTV — Tropicana history and the Superstar Theater[66] Sammy & Company, 1975–77 episode and production chronology[16] September 18–October 8, 1975[17] June 10–16, 1976
Chapter 06

A Working Entertainer, Not Just a Memory

At Bally's, appearances with Jerry Lewis brought decades of show-business history into the same room. Period listings and reporting document the late-career partnership and continued audience interest.

The 1989 dispute over live musicians also reveals the practical foundations beneath showroom glamour. Sammy supported live musical performance during the labor conflict. The orchestra was part of what made the encounter a show rather than a recording played in a hotel.

After his death in 1990, Las Vegas tributes recognized a relationship much larger than a series of bookings. His legacy includes virtuosity, audience connection, and an expanded understanding of who could belong in the city's most powerful rooms.

Sources for this section[78] Los Angeles Times — Sammy and Jerry at Bally's, 1987[79] Nevada Showguide, July 23–August 5, 1987[80] Nevada Showguide, August 1989[81] Time — “Las Vegas: Stop the Music!”, August 21, 1989[83] UPI — “Stars Lobby for Vegas Music,” July 7, 1989[85] Los Angeles Times — Bally's tribute after Sammy's death, 1990
At a glance

The story in time

  1. 1946

    An advertisement places the Will Mastin Trio at El Rancho Vegas in May.

  2. 1955

    The Moulin Rouge offers an integrated late-night meeting place.

  3. 1960s

    The Sands becomes a central setting for his solo and shared performances.

  4. Early 1970s

    He acquires an eight-percent Tropicana interest.

  5. 1980s

    Later Bally's appearances include Jerry Lewis.

  6. 1990

    His death prompts Las Vegas tributes.

Follow the evidence

Sources & further reading

The numbered links in each chapter point to the supporting material below. The wider bibliography also includes archival collections and specialist references. Historical uncertainty is explained where it affects the story; a source link does not grant permission to reproduce its images.

Start with these sources

Nevada Yesterdays, Part 1October 1959 Esquire profilePBS American Masters — Sammy Davis Jr.: I've Gotta Be MeClaytee D. White interview transcriptPBS American Experience — African Americans in Las VegasNational Park Service — Moulin Rouge Hotel
  1. Research sourceNevada Yesterdays, Part 1
  2. Research sourceVocal Group Hall of Fame
  3. Research sourceJanuary 11–February 7, 1967 Sands listing
  4. Research sourceNevada Yesterdays, Part 2
  5. Research sourceDecember 5, 1970 guide
  6. Research sourceFebruary 6, 1971 guide
  7. Research sourceSeptember 18, 1971 guide
  8. Research sourceFall 1972 showguide
  9. Research sourceAugust 1972 UNLV showguide
  10. Research sourceOctober 4, 1973 newspaper report
  11. Research source1977 Nevada Attorney General opinion
  12. Research sourceUNLV Myram Borders Papers finding aid
  13. Research sourceDecember 10, 1976 Las Vegas Israelite report
  14. Research sourcePaley Center catalog for the January 7, 1966 premiere of The Sammy Davis Jr. Show
  15. Research sourceJanuary 28, 1978 Cash Box report
  16. Research sourceSeptember 18–October 8, 1975
  17. Research sourceJune 10–16, 1976
  18. Research sourceOctober 13–26, 1977
  19. Research sourceApril 19–May 2, 1979
  20. Research sourceNovember 1–5, 1980
  21. Research sourceAugust 31–September 3, 1984 with Bill Cosby
  22. Research sourceJanuary 23–29, 1987 with Bill Cosby
  23. Research sourceOctober 21, 1977 Las Vegas Israelite report
  24. Research sourceLibrary of Congress Billy Byers Collection finding aid
  25. Research sourceUNLV oral history
  26. Research sourceMarch–April 1985 Nevada showguide
  27. Research sourceDecember 1987 guide
  28. Research sourceApril 1988 guide
  29. Research sourceAugust 1989 guide
  30. Research sourceNevada Magazine “Notable Nights” chronology
  31. Research sourceUPI reported on July 30
  32. Research sourceJuly 27 UPI report
  33. Research sourceLos Angeles Times reported on August 29
  34. Research sourceOctober 1990 Nevada Magazine remembrance
  35. Research sourceApril 1990 Nevada showguide
  36. Research sourceOctober 1959 Esquire profile
  37. Research sourcePhotograph of Sammy Davis Jr. performing in the Copa Room at the Sands, 1966
  38. Research sourceFilm transparency of the New Frontier exterior, circa 1955
  39. Research sourcePhotograph/slide of Sammy performing at the Sands, February 1963
  40. Research sourceSammy Davis Jr. performing at the Copa, 1960
  41. Research sourceSammy Davis Jr. with Dean Martin and Frank Sinatra, February 1963
  42. Research sourceSands performance photograph, approximately 1955–65
  43. Research sourceSands performance photograph, 1963
  44. Research sourceSammy and Frank at the Sands, approximately 1960–63
  45. Research sourceSammy, Dean, and Frank/Rat Pack image set, approximately 1960s
  46. Research sourceSammy and the Sands performance set
  47. Research sourceSammy promotional materials, 1957–72
  48. Research sourceFilm negative of Sammy Davis Jr., circa 1953
  49. Research sourceSammy Davis Jr. and colleagues cutting the 100th-week Sands cake
  50. Research sourceSammy Davis Jr. birthday cake photographs, December 1960
  51. Research sourceSammy dancing at a Las Vegas party, May 18, 1966
  52. Research sourceSammy Davis Jr. birthday-party photograph set, December 8, 1968
  53. Research sourceFour Chaplains Memorial photograph, February 7, 1960
  54. Research sourceThomas & Mack “Christmas with Class” program, December 16, 1983
  55. Research sourceUNLV finding aid for the Sands Hotel Public Relations Photograph Collection
  56. Research sourceUNLV Entertainers series, 1953–72
  57. Research sourceUNLV Tropicana Hotel and Casino Records, MS-01186
  58. Research sourcePBS American Masters — Sammy Davis Jr.: I've Gotta Be Me
  59. Research sourcePBS American Masters episode archive
  60. Research sourceArthur Silber interview transcript
  61. Research sourceClaytee D. White interview transcript
  62. Research sourceSammy Davis Jr. interview, Vegas PBS/KLVX, May 11, 1982
  63. Research sourceJerry Lewis on comedy and his friendship with Sammy Davis Jr.
  64. Research sourcePBS Vegas All In — “Vintage Vegas: Where the Rat Pack Still Plays”
  65. Research sourceLibrary of Congress — Burt Boyar Collection finding aid
  66. Research sourceSammy & Company, 1975–77 episode and production chronology
  67. Research sourcePBS American Experience — African Americans in Las Vegas
  68. Research sourceNational Park Service — Moulin Rouge Hotel
  69. Research sourceUNLV — Integrating Las Vegas and the Entertainers Who Helped It Happen
  70. Research sourceNevada Magazine — “The Summit and Civil Rights”
  71. Research sourceNevada State Museum — El Rancho Vegas
  72. Research sourceCasino.org — “Vegas Myths Busted: Sammy Davis Jr. Shattered the Strip's Color Barrier”
  73. Research sourceSmithsonian — “The Vegas Hotspot That Broke All the Rules”
  74. Research sourceUNLV billing document for the Will Mastin Trio, starring Sammy Davis Jr.
  75. Research sourceAssociated Press — Tropicana and Sammy Davis Jr.'s ownership
  76. Research sourceKNTV — Tropicana history and the Superstar Theater
  77. Research sourceLos Angeles Times — “Four aces” / Las Vegas showroom history
  78. Research sourceLos Angeles Times — Sammy and Jerry at Bally's, 1987
  79. Research sourceNevada Showguide, July 23–August 5, 1987
  80. Research sourceNevada Showguide, August 1989
  81. Research sourceTime — “Las Vegas: Stop the Music!”, August 21, 1989
  82. Research sourceDiscoveries, March/April 1988
  83. Research sourceUPI — “Stars Lobby for Vegas Music,” July 7, 1989
  84. Research sourceAn Evening with Sammy Davis Jr. and Jerry Lewis, 1988
  85. Research sourceLos Angeles Times — Bally's tribute after Sammy's death, 1990
  86. Research sourceBillboard, August 27, 1966
  87. Research sourceBillboard, January 29, 1972
  88. Research sourceBillboard, November 4, 1972
  89. Research sourceFabulous Las Vegas, September 23, 1972
  90. Research sourceBillboard, October 6, 1973
  91. Research sourceLas Vegas showguide route with Sammy, George Rhodes, Gladys Knight & the Pips, Claude Thompson Dancers, and Antonio Morelli
  92. Research sourceUNLV Sands Hotel Public Relations finding aid, MS-00417
  93. Research sourceNevada Showguide, 1981 interview route
  94. Research sourceOfficial Sammy Davis Jr. music page
  95. Research sourceThat's All! recording history
  96. Research sourceThe Sounds of '66 recording history
  97. Research sourceLive-performance discography
  98. Research sourceAllMusic — The Sounds of '66
  99. Research sourceWill Friedwald interview transcript, PBS American Masters
  100. Research sourceUNLV — Bill Angelos and Buz Kohan letter to Sands publicity director Al Freeman, January 26, 1966
  101. Research sourceUNLV — Jerry Engel oral-history interview
  102. Research sourceUNLV — Corinne Sidney oral history
  103. Research sourcePaley Center — The Tonight Show Starring Johnny Carson, December 6, 1973

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