- Born
- Died
- Birth nameLena Mary Calhoun Horne
- Nickname
- Noble Sissle's Swingsters
- Height5′ 5″ (1.65 m)
- Lena Calhoun Horne was born June 30, 1917, in Brooklyn, New York. In her biography she stated that, on the day she was born, her father was in the midst of a card game trying to get money to pay the hospital costs. Her parents divorced while she was still a toddler. Her mother left later in order to find work as an actress and Lena was left in the care of her grandparents. When she was seven, her mother returned and the two traveled around the state which meant that Lena was enrolled in numerous schools. For a time she also attended schools in Florida, Georgia and Ohio. Later she returned to Brooklyn.
Lena quit school when she was 14 and got her first stage job at 16 dancing and later singing at the famed Cotton Club in Harlem, a renowned theater in which black performers played before white audiences immortalized in The Cotton Club (1984)). She was in good hands at the club, especially when people such as Cab Calloway and Duke Ellington took her under their wings and helped her over the rough spots. Before long, her talent resulted in her playing before packed houses.
If Lena had never made a movie, her music career would have been enough to have ensured her legendary status in the entertainment industry, but films were icing on the cake. After she made an appearance on Broadway, Hollywood came calling. At 21 years of age, Lena made her first film, The Duke Is Tops (1938). It would be four more years before she appeared in another, Panama Hattie (1942), playing a singer in a nightclub. By now Lena had signed with MGM but, unfortunately for her, the pictures were shot so that her scenes could be cut out when they were shown in the South since most theaters in the South refused to show films that portrayed blacks in anything other than subservient roles to whites. Most movie studios did not want to take a chance on losing that particular source of revenue. Lena did not want to appear in those kinds of stereotyped roles and who could blame her?
In 1943, MGM loaned Lena to 20th Century-Fox to play the role of Selina Rogers in the all-black musical Stormy Weather (1943), which did extremely well at the box office. Her rendition of the title song became a major hit on the musical charts. In 1943, she appeared in Cabin in the Sky (1943), regarded by many as one of the finest performances of her career. She played Georgia Brown opposite Ethel Waters and Eddie 'Rochester' Anderson in the all black production. Rumors were rampant that she and Waters just did not get along well, although there was never any mention of the source of the alleged friction. However, that was not the only feud on that picture. Other cast members sniped at one another and it was a wonder the film was made at all. Regardless of the hostilities, the movie was released to very good reviews from the ever tough critics. It went a long way in showing the depth of the talent that existed among black performers in Hollywood, especially Lena.
Lena's musical career flourished, but her movie career stagnated. Minor roles in films such as Boogie-Woogie Dream (1944), Words and Music (1948) and Mantan Messes Up (1946) did little to advance her film career, due mainly to the ingrained racist attitudes of the time. Even at the height of Lena's musical career, she was often denied rooms at the very hotels in which she performed because they would not let blacks stay there. After Meet Me in Las Vegas (1956), Lena left films to concentrate on music and the stage. She returned in 1969 as Claire Quintana in Death of a Gunfighter (1969). Nine years later, she returned to the screen again in the all black musical The Wiz (1978) where she played Glinda the Good Witch. Although that was her last big-screen appearance, she stayed busy in television appearing in A Century of Women (1994) and That's Entertainment! III (1994).
Had it not been for the prevailing racial attitudes during the time when Lena was just starting her career, it's fair to say that it would have been much bigger and come much sooner. Even taking those factors into account, Lena Horne is still one of the most respected, talented and beautiful performers of all time.- IMDb Mini Biography By: Denny Jackson - Lena Horne was an American singer, dancer, actress, and civil rights activist. Horne's career spanned over 70 years, appearing in film, television, and theater. Horne joined the chorus of the Cotton Club at the age of 16 and became a nightclub performer before moving to Hollywood.
Returning to her roots as a nightclub performer, Horne took part in the March on Washington in August 1963 and continued to work as a performer, both in nightclubs and on television while releasing well-received record albums. She announced her retirement in March 1980, but the next year starred in a one-woman show, Lena Horne: The Lady and Her Music, which ran for more than 300 performances on Broadway. She then toured the country in the show, earning numerous awards and accolades. Horne continued recording and performing sporadically into the 1990s, disappearing from the public eye in 2000.- IMDb Mini Biography By: Tango Papa
- SpousesLennie Hayton(December 14, 1947 - April 24, 1971) (his death)Louis Jordan Jones(January 13, 1937 - June 15, 1944) (divorced, 2 children)
- Children
- ParentsTed Horne
- RelativesJenny Lumet(Grandchild)Jake Cannavale(Great Grandchild)Amy Lumet(Grandchild)
- Her sweet and sultry alto vocal range
- Lost her father, husband and son in one year.
- In Charles Whiting's book "The Long March on Rome", he reports that she refused to appear before racially segregated US Army audiences in World War II Italy--since the army was officially segregated, the policy was to have one show solely for white troops and another show solely for black troops. Horne insisted on performing for mixed audiences, and since army leadership refused to allow integrated audiences, she wound up putting on a show for a mixed audience of black American soldiers and white German POWs.
- Her then son-in-law Sidney Lumet cast her as Glinda the Good Witch in The Wiz (1978).
- While at MGM, her appearances in movies were shot so that they could be cut easily from the film. This was because MGM feared audiences of the day--but especially in the South--would not accept a beautiful black woman in romantic, non-menial roles. Many in the industry believed that this was the main reason she lost out on playing the mulatto "Julie" in MGM's remake of Show Boat (1951). Ironically, the role was played by one of her close off-screen friends, Ava Gardner, who practiced for it by singing to Horne's recordings of the songs, and Lena had already appeared in the "Show Boat" segment of Till the Clouds Roll By (1946), in which she appeared as "Julie" singing "Can't Help Lovin' Dat Man" (which as were all her MGM appearances, shot in such a way that they could be easily edited out of the film). Another irony is that she had been invited by Jerome Kern and Oscar Hammerstein II themselves to play "Julie" in the 1946 Broadway revival of "Show Boat", but had to refuse because MGM would not release her from her contract.
- She was branded a "Communist sympathizer" by many right-wing conservatives because of her association with Paul Robeson and her progressive political beliefs (which led her to be blacklisted in the 1950s).
- I was unique in that I was a kind of black that white people could accept. I was their daydream. I had the worst kind of acceptance because it was never for how great I was or what I contributed. It was because of the way I looked.
- [quoted in Brian Lanker's book "I Dream A World: Portraits of Black Women Who Changed America", New York: Stewart, Tabori & Chang, 1986)] My own people didn't see me as a performer because they were busy trying to make a living and feed themselves. Until I got to café society in the '40s, I didn't even have a black audience and then it was mixed. I was always battling the system to try to get to be with my people. Finally, I wouldn't work for places that kept us out . . . it was a damn fight everywhere I was, every place I worked, in New York, in Hollywood, all over the world.
- You have to be taught to be second class; you're not born that way.
- It's not the load that breaks you down, it's the way you carry it.
- Always be smarter than the people who hire you.
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