In 1956 entertainer Sammy Davis, Jr., attempted to organize the music industry in a campaign against juvenile delinquency, using musical public service announcements to encourage teens to stay on the right side of the law. Although popular with the public and some industry insiders, Davis's idea failed, officially because of opposition from the Recording Industry Association of America. Although Davis's campaign went nowhere, we argue that this episode provides an important illustration of the need to broaden our understanding of cultural policy studies in the context of American music history. Specifically, we argue for an approach to policy analysis that draws on poststructuralist historiography to capture the forms that cultural policy takes in the United States, including the specific factors of race, intra-industry struggles, and the persona of Sammy Davis, Jr., himself, a pivotal figure who has been largely neglected by music historians despite embodying many of the key cultural tensions of postwar U.S. society. By examining the case of Sammy Davis, Jr., vs. Juvenile Delinquency, we can achieve a better understanding of how U.S. music, U.S. culture, and cultural policy intersect.