Lena horne album

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Lena HorneUnited States

The best album credited to Lena Horne is Stormy Weather which is ranked number 19,898 in the overall greatest album chart with a total rank score of 49.

Lena Horne is ranked number 6,397 in the overall artist rankings with a total rank score of 105.

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Lena Horne best albums

The following albums by Lena Horne are ranked highest in the greatest album charts:

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2 charts

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 74 (1 vote)


Year of Release:


Appears in:

1 chart

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Sours: https://www.besteveralbums.com/thechart.php?b=18686

Lena: A New Album (1976)

There was never a need for a comeback—Horne was actually quite busy in the 1970s, the years leading up to her 60th birthday. She was both touring and recording, not to mention stealing the show from Diana Ross in the movie version of The Wiz. But this 1976 album is something extra special—Horne at her most subtle and most intimate, helped immeasurably by the brilliant arrangements of Robert Farnon, regarded by many (including Quincy Jones) as the greatest string orchestrator of all time. Phil Woods starts "I've Got the World on a String" with an alto-saxophone solo so sizzlingly hot that nobody but Horne could possibly follow him.

The Lady and Her Music: Live on Broadway (1981)

This is undeniably a Horne milestone—probably the overall high point of her entire 60-plus-year career—but I have to admit, it's the phase of her work that I personally enjoy the least. During the run of her one-woman Broadway show, Horne re-invented herself as an angry soul sister, who sounded more like a second-rate Aretha Franklin than a first-rate Lena Horne. Still, the Grammy-winning double LP that resulted has its share of brilliant moments—not least of which is what must be the definitive reading of her signature song "Stormy Weather"—here re-incarnated as a two-part nationalist and feminist anthem.

We'll Be Together Again (1993)

"I hope you don't expect me to become a jazz singer overnight," Horne told impresario George Wein onstage at Avery Fisher during the 1993 JVC Jazz Festival, but that's pretty much what happened. After at least five or six of the greatest careers in American culture, Horne's fans had no right to expect that she would come back for yet another, but in the mid-to-late 90s, the legendary diva re-re-emerged for a marvelous, late-in-life series of albums for Blue Note Records. Pushing 80, she no longer had the chops or energy to bite like she did in the 50s or snarl like she had on Broadway, so these final albums offer a confident, restrained Horne, who sings with warmth and compassion—and absolutely nothing to prove to anyone.

Will Friedwald writes about jazz for the Wall Street Journal and is the

author of seven books on music and popular culture; his latest, A

Biographical Guide to the Great Jazz and Pop Singers, will be published in

fall 2010 by Pantheon Books.

Sours: https://www.vanityfair.com/culture/2010/05/five-classic-lena-horne-albums
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Lena Horne

Singer/actress Lena Horne’s primary occupation was nightclub entertaining, a profession she pursued successfully around the world for more than 60 years, from the 1930s to the 1990s. In conjunction with her club work, she also maintained a recording career that stretched from 1936 to 2000 and brought her three Grammys, including a Lifetime Achievement Award in 1989; she appeared in 16 feature films and several shorts between 1938 and 1978; she performed occasionally on Broadway, including in her own Tony-winning one-woman show, Lena Horne: The Lady and Her Music, in 1981-1982; and she sang and acted on radio and television. Adding to the challenge of maintaining such a career was her position as an African-American facing discrimination personally and in her profession during a period of enormous social change in the U.S. Her first job in the 1930s was at the Cotton Club, where blacks could perform but not be admitted as customers; by 1969, when she acted in the film Death of a Gunfighter, her character’s marriage to a white man went unremarked in the script. Horne herself was a pivotal figure in the changing attitudes about race in the 20th century; her middle-class upbringing and musical training predisposed her to the popular music of her day, rather than the blues and jazz genres more commonly associated with African-Americans, and her photogenic looks were sufficiently close to Caucasian that frequently she was encouraged to try to “pass” for white, something she consistently refused to do. But her position in the middle of a social struggle enabled her to become a leader in that struggle, speaking out in favor of racial integration and raising money for civil rights causes. By the end of the century, she could look back at a life that was never short on conflict, but that could be seen ultimately as a triumph.

Lena Mary Calhoun Horne was born June 30, 1917, in the New York City borough of Brooklyn. Both sides of her family claimed a mixture of African-Americans, Native Americans, and Caucasians, and both were part of what black leader W.E.B. DuBois called “the talented tenth,” the upper stratum of the American black population made up of middle-class, well-educated African-Americans. Her parents, however, might both be described as mavericks from that tradition. Her father, Edwin Fletcher Horne, Jr., worked for the New York State Department of Labor, but one of her biographers describes him more accurately as “a ‘numbers’ banker”: his real profession was gambling. Her mother, Edna Louise (Scottron) Horne, aspired to act. The two lived in a Brooklyn brownstone with Horne’s paternal grandparents, teacher and newspaper editor Edwin Fletcher Horne, Sr. and his wife, Cora (Calhoun) Horne, a civil rights activist and early member of the National Association for the Advancement of Colored People (NAACP), which had been founded in 1909 and was headed by DuBois. (Indeed, Horne herself could claim a similar association. A photograph of her as a two-year-old appears on the cover of the October 1919 issue of the NAACP’s Branch Bulletin, describing her as the organization’s youngest member!)

Horne’s father and mother separated in August 1920 when she was three, later divorcing. Her father moved to Seattle before eventually settling in Pittsburgh, where he ran a hotel when he wasn’t traveling the country to attend and gamble on sporting events. Horne and her mother initially remained in her grandparents’ home, but when Horne was about five, her mother left to pursue her acting career, initially with the Lafayette Stock Company in Harlem. Horne recalled in her 1965 autobiography Lena (written with Richard Schickel) that she visited her mother occasionally and even made her stage debut as a young child in the play Madame X in Philadelphia. After a couple of years, Horne’s mother took her on the road with her, and from the age of six or seven to the age of 11 she was raised in various locations in the South and the Midwest by her mother, relatives, and paid companions, with frequent trips back to Brooklyn. Finally, in early 1929, she returned permanently to her grandparents’ home. She stayed there until September 1932, when her grandmother died, then went to live with a family friend. While attending Girls High School in Brooklyn, she also took dancing lessons, even playing with a group at the Harlem Opera House for a week in 1933. Her mother, meanwhile, had been living in Cuba, where she had remarried. She returned to New York and reclaimed her daughter. They lived in Brooklyn, then moved to the Bronx, and eventually Harlem. Money was tight in those Depression years, and Horne’s mother obtained an audition for her at the Cotton Club through a friend. She was hired as a chorus girl at the club at the age of 16.

Horne first attracted attention beyond the chorus when she replaced a sick performer in a performance of Harold Arlen and Ted Koehler’s “As Long As I Live” with Avon Long. Soon after, she sang “Cocktails for Two” with Claude Hopkins & His Orchestra on a theater date with the Cotton Club troupe, and she began taking singing lessons. She was spotted at the Cotton Club by a theatrical producer and cast in a small part in the play Dance with Your Gods, which opened a brief run on October 6, 1934, marking her Broadway debut. In 1935, she left the Cotton Club and took a job singing with Noble Sissle & His Orchestra, billed as Helena Horne. She made her recording debut with Sissle on March 11, 1936, singing “That’s What Love Did to Me” and “I Take to You,” both released by Decca Records.

Horne was introduced to Louis Jordan Jones, a Pittsburgh political operative, by her father. In January 1937, she retired from show business to marry him; their daughter, Gail, was born December 21, 1937. Jones owed his job as a clerk in the county coroner’s office to political patronage. It did not bring in much money, and in 1938, when Horne was approached by an agent with an offer to co-star in a low-budget all-black movie musical with a mere ten-day shooting schedule in Hollywood, she accepted. The film was The Duke Is Tops, released in July 1938. Later in the year, Horne was asked to take on a more time-consuming project, a part in a new mounting of producer Lew Leslie’s all-black musical revue Blackbirds. Again, she accepted in the name of increasing the family income, spending months in rehearsals and out-of-town tryouts before Lew Leslie’s Blackbirds of 1939 opened on Broadway on February 11, 1939. One of Horne’s numbers was “You’re So Indifferent,” written by Sammy Fain and Mitchell Parish, a song she would keep in her repertoire. The show ran only nine performances, closing February 18.

Horne returned to Pittsburgh, where she temporarily separated from her husband, then reconciled with him. She began taking singing engagements in the homes of wealthy families in the area. She also became pregnant again, and her son, Edwin Fletcher (“Teddy”) Jones, was born in February 1940. That fall, she made a final separation from her husband (they were formally divorced in June 1944) and moved to New York to restart her career. In December, she accepted an offer to join the orchestra of white bandleader Charlie Barnet, one of the few instances of integration among swing bands at the time. She made a handful of recordings with Barnet in January 1941 that were released on RCA Victor’s discount label Bluebird Records. After only a few months, however, the difficulties of encountering racial discrimination while touring and her desire to have a home where she could raise her children (Jones let her have her daughter, but ultimately retained custody of her son) caused her to look for a job in New York, and in March 1941 she began singing at the prestigious nightclub Café Society Downtown in Greenwich Village, again billed as Helena Horne. She also did radio work, becoming a regular on the Chamber Music Society of Lower Basin Street series broadcast by NBC. In June 1941, she was the featured vocalist on a series of recordings made by Henry Levine & the Dixieland Jazz Group of the show for RCA, cutting a selection of W.C. Handy tunes for a 78-rpm album called The Birth of the Blues. She also sang on recordings by Artie Shaw and Teddy Wilson (who was her accompanist at Café Society).

Horne left her New York engagement after six months when she received an offer to help open a club in Los Angeles. She arrived on the West Coast in September 1941 to find that the club was not yet ready to open; after Pearl Harbor led to American involvement in World War II and a shortage of building materials, it would not be any time soon. In the meantime, she was contracted directly to RCA and in December 1941 cut eight songs backed by an orchestra conducted by Lou Bring for her first solo album, Moanin’ Low. Among its selections were songs she would sing throughout her career, including a revival of the 1933 Cotton Club song “Stormy Weather,” written by Harold Arlen and Ted Koehler, and George and Ira Gershwin’s 1928 standard “The Man I Love.” Giving up on the large club he had in mind (which was to have been called the Trocadero), Horne’s sponsor instead opened a small club, the Little Troc, in February 1942 with her as headliner. She attracted attention immediately, notably from the film community, and entertained offers from the film studios before settling on MGM. Even then, she brought in a representative of the NAACP to consult on her contract so that she would not be forced to play the kind of demeaning roles usually given to African-Americans. As it turned out, however, MGM had very little else for her to play, and in all but two of the 13 features in which she would appear over the next 14 years, she would only sing a song or two, not actually have a speaking part. (The material was gathered together for audio release in 1996 by Turner/Rhino on the CD Lena Horne at Metro-Goldwyn-Mayer: Ain’t It the Truth.) The first of these “specialty” appearances came right away; by May 1942 she was at work prerecording songs for a film adaptation of the Cole Porter musical Panama Hattie, one of which was the standard “Just One of Those Things.” At the same time, however, she continued her nightclub work, moving from the Little Troc to the Mocambo.

Horne was not credited in Panama Hattie, and with the film’s Latin American setting, MGM may have been hoping to pass her off as Hispanic rather than Negro. But her next film would dispel any such notion; it was a treatment of the all-black musical Cabin in the Sky, with Horne not only singing but acting opposite Ethel Waters and Eddie “Rochester” Anderson. She shot the film in the late summer of 1942, then returned to New York where she was booked into the Café Lounge of the Savoy-Plaza Hotel starting on November 26. The engagement attracted national attention, with write-ups in magazines like Time and Life, increasing her emerging stardom. By March 1943, she was back in Hollywood for what would be her busiest time of filmmaking. MGM loaned her to 20th Century-Fox for another all-black musical, a fictionalized film biography of dancer Bill “Bojangles” Robinson called Stormy Weather, in which she co-starred with Robinson himself and again sang the title song, which became her signature tune. The opening of Cabin in the Sky in April found her on the road making appearances in black theaters like Washington, D.C.’s Howard and Harlem’s Apollo. Then it was back to Hollywood, where MGM quickly began shooting musical sequences with her for one film after another: Swing Fever (an interpolation of “You’re So Indifferent”), Thousands Cheer (Fats Waller and Andy Razaf’s 1929 song “Honeysuckle Rose”), I Dood It (“Jericho”), and Broadway Rhythm (the 1924 Gershwin standard “Somebody Loves Me”). (Her scenes were usually excised from the prints of the films shown in the South to avoid offending racist white audiences.) Meanwhile, Stormy Weather opened, and with I Dood It and Thousands Cheer out before the end of the year, Broadway Rhythm and Swing Fever following in early 1944, and Two Girls and a Sailor (in which she sang the Mills Brothers hit “Paper Doll”) out in April, Horne had appearances in seven major movie musicals released in little more than a year. She would never be so active in film again. In fact, she would appear in only seven more films over the rest of her career.

When her film work eased up, however, Horne had other activities to keep her busy. She entertained troops at military bases; she appeared on radio, notably the African-American-oriented military show Jubilee and the drama Suspense; she continued to do club and theater dates; and with the lifting of the musicians union recording ban that had been imposed in 1942, she was even able to make a few recordings in November 1944, backed by Horace Henderson & His Orchestra, among them her old standby “As Long as I Live.” (In 2002, Bluebird reissued these tracks and earlier ones on a CD called The Young Star, along with a few tracks said to have been recorded in January 1944, at a time when the ban was still in force.) Back at MGM, her only work was for the anthology film Ziegfeld Follies, in which she sang and performed Ralph Blane and Hugh Martin’s newly written song “Love.” The film, long in gestation, did not come out until January 1946. By then, Horne was working on Till the Clouds Roll By, a film biography of songwriter Jerome Kern, recording and filming a sequence that found her on-stage in Show Boat in the role of Julie LaVerne, the light-skinned Negro attempting to pass for white who sings “Can’t Help Lovin’ Dat Man” and “Bill.” (Horne’s performance of “Bill” was cut from the film but released on Lena Horne at Metro-Goldwyn-Mayer: Ain’t It the Truth.)

Horne parted ways with RCA in 1946 and signed to the tiny Black & White Records label, for which she recorded that fall. But when Till the Clouds Roll By opened in November, MGM took the opportunity to launch its own record label and release the first original motion picture soundtrack album; featuring Judy Garland, June Allyson, and Tony Martin, along with Horne, the Till the Clouds Roll By soundtrack reached number three in the spring of 1947, and MGM Records became Horne’s new label. Meanwhile, again free of studio responsibilities, she traveled to England to perform at the London Casino that spring. She returned to Europe in October 1947 for a lengthier stay that found her performing in England, France, and Belgium. The European trip also had another purpose; she had become involved in a serious relationship with MGM arranger/conductor Lennie Hayton, but since Hayton was white, the two could not marry in California, where mixed-race marriages were illegal. Instead, they married in Paris in December 1947, and even then kept the marriage secret for two and a half years.

As usual, Horne had only one film to work on in 1948, and that was Words and Music, a film biography of songwriters Richard Rodgers and Lorenz Hart in which she performed “Where or When” and “The Lady Is a Tramp.” Opening in December, the film generated a soundtrack album featuring Garland, Allyson, and Mickey Rooney in addition to Horne that began the first of six weeks at number one on February 12, 1949. Five days later, she was recording “Baby, Come Out of the Clouds” for her next specialty appearance in an MGM musical, the Esther Williams picture Duchess of Idaho. This would be her last film as part of the seven-year contract she had signed in 1942. As the film was released in June 1950, Horne’s career took several new turns. That month, free of her movie contract, she sailed to Europe for another long tour; she revealed her marriage to Hayton to the press; and her name was listed in Red Channels, a publication intended to inform broadcasters of which performers were Communists or Communist “sympathizers.” She was not actually called a Communist, but only included because of her association with others, notably Paul Robeson, and because she had assisted various liberal organizations in Hollywood in the 1940s, primarily in connection with their civil rights activities. The inclusion of her name, however, was enough to damage her career significantly. No movie studio offered her another film contract; she was without a recording contract; and there were no offers to appear on radio or the emerging medium of television. Thankfully, she still had live appearances to keep her going, but she worked in Europe increasingly over the next several years. She came back from Europe in September 1950, and in December opened for the first time at the Sands Hotel in Las Vegas, where she would appear annually for the next decade. There were more European trips in 1952 and 1954.

Eventually, Horne managed to get herself “cleared” from the blacklist, and media opportunities in the U.S. opened up again. At the end of 1954, she re-signed to RCA, and she was back in the recording studio in March 1955 cutting a revival of the 1928 Ruth Etting hit “Love Me or Leave Me” to take advantage of the Etting film biography of the same name due for release that spring. The recording gave her something she had never had before, a hit single; it peaked at number 19 in the Billboard chart in July. RCA quickly followed with a full-length LP, It’s Love. Horne began to make appearances on television variety shows, and she was even invited back to MGM to perform in the film Meet Me in Las Vegas. Of course, all she did was sing a song. The movie opened in the winter of 1956, and that year she released more RCA recordings, toured Europe again, and, starting on New Year’s Eve, opened a long run in the Empire Room of the Waldorf Astoria Hotel in New York. RCA brought in recording equipment on February 20, 1957, and the result was the live LP Lena Horne at the Waldorf Astoria, released that summer, which reached the Top 25 in Billboard and the Top Ten in Cash Box and was reported to be the best-selling album by a female artist on RCA up to that time.

Horne, meanwhile, had moved her show to the Cocoanut Grove in Hollywood in June, where she recorded a live EP, Lena Horne at the Cocoanut Grove, and announced that she was leaving nightclub work temporarily. She was preparing to star in a Broadway musical. The show was Jamaica, with songs by Harold Arlen and E.Y. Harburg, originally written as a vehicle for Harry Belafonte, who proved unavailable. The creators then rewrote it somewhat to beef up the part of the male lead’s girlfriend for Horne. Critics were not impressed with the show itself when it opened on October 31, 1957, but they were impressed with Horne, who carried the production to a run of 558 performances that continued until April 11, 1959. Based in New York, she issued plenty of new RCA recordings during this period, including an LP called Stormy Weather; the Jamaica cast album; Give the Lady What She Wants (a Top 20 hit in the fall of 1958); a duet album with Belafonte of songs from Porgy and Bess recorded to coincide with the release of a film version of the Gershwin opera in 1959; and Songs by Burke and Van Heusen. Horne disliked the Porgy and Bess LP and even sued RCA to prevent the label from releasing it, but when it came out it made the Top 15 in Billboard and the Top Ten in Cash Box. It also earned her her first Grammy Award nomination for Best Vocal Performance, Female, though she lost to Ella Fitzgerald.

Finished with her Broadway commitment, Horne went back to nightclub work in 1959, performing in Europe that summer and fall and returning to the Sands in Las Vegas. Her schedule was much the same in 1960. That November, RCA again recorded her in concert for the 1961 album Lena at the Sands, which earned her another Grammy nomination for Best Solo Vocal Performance, Female, and another loss, this time to Judy Garland, whose Judy at Carnegie Hall also won Album of the Year. Horne next mounted a stage show, Lena Horne in Her Nine O’Clock Revue, that was intended to go to Broadway but closed out of town after tryouts in Toronto and New Haven. She continued to record for RCA, charting with Lena on the Blue Side in April 1962 and Lena…Lovely and Alive in February 1963 (the latter earning her a third Grammy nomination for Best Solo Vocal Performance, Female, and another loss to Ella Fitzgerald), but diminishing sales led to the end of her contract. She signed to Charter Records and recorded two LPs, Lena Sings Your Requests and Goes Latin (later reissued as a two-fer by DRG Records under the title Lena Goes Latin & Sings Your Requests), but her increasing involvement in the civil rights movement of the early ’60s (she appeared with civil rights leader Medgar Evers in Jackson, MS, just before he was assassinated on June 12, 1963, and attended the March on Washington with Dr. Martin Luther King, Jr., on August 28) led her to question her role as an entertainer. She wrote an article for Show magazine called “I Just Want to Be Myself,” and it inspired some of her songwriting colleagues to provide her with more politically oriented material. Harold Arlen and E.Y. Harburg sent her “Silent Spring,” a song that used the title of Rachel Carson’s environmentalist book but treated broader social concerns, and Jule Styne, Betty Comden, and Adolph Green wrote the civil rights-oriented “Now!” to the tune of “Hava Na Gila.” Horne premiered both at a Carnegie Hall appearance mounted as a benefit for the Student Nonviolent Coordinating Committee (SNCC), where they were heard by a producer at 20th Century Fox Records, who signed her to a new recording contract. A single pairing “Now!” and “Silent Spring” made the lower reaches of the pop charts in November 1963 and even made the Top 20 of Cash Box’s R&B chart (Billboard did not publish a separate R&B chart at the time), despite resistance from some radio stations. Horne followed with a recording of Bob Dylan’s civil rights anthem “Blowin’ in the Wind” and the 1964 LP Here’s Lena Now!

Of course, in early 1964 the Beatles led the British Invasion, which tended to marginalize middle-of-the-road performers like Horne in American record stores. Nevertheless, she did what she could, turning more to television, with a special filmed in England in March 1964 and eventually shown in the U.S. in December, and more appearances on variety shows. She moved to another new record label, United Artists, which released Feelin’ Good in 1965 and Lena in Hollywood, Soul, and the holiday collection Merry from Lena in 1966. After that, she was without a recording contract for a few years. She had also given up performing in the Nevada showrooms, though she continued to play club dates. In 1969, she acted in the Western Death of a Gunfighter, also singing a song over the opening and closing credits. That September, NBC broadcast her first U.S.-originated television special, Monsanto Presents Lena Horne. The same month, she returned to Las Vegas, appearing with Harry Belafonte at Caesar’s Palace. In October, she recorded a new album for Skye Records accompanied by guitarist Gabor Szabo and issued in the spring of 1970 under the title Lena & Gabor. The LP reached the pop and jazz charts, with a single, “Watch What Happens,” making the Top 40 of the R&B chart in Cash Box. (Although Horne never considered herself a jazz singer, and jazz critics agreed, she frequently performed and recorded with jazz musicians, and from the 1970s on, she, like other traditional pop singers such as Tony Bennett and Rosemary Clooney, often was lumped in with jazz artists for marketing purposes.) Meanwhile, ABC had contracted with Horne and Belafonte to re-create their stage act for TV, and the result was the special Harry and Lena, broadcast on March 22, 1970, and recorded for a soundtrack album released by RCA. Buddah Records acquired the Lena & Gabor album and reissued it under the name Watch What Happens! The label also signed Horne and had her record a new album, Nature’s Baby, released in the spring of 1971, on which she covered contemporary pop/rock songs by Elton John, Leon Russell, and Paul McCartney. Unfortunately, by the time the LP came out, she was in no condition to promote it. In a period of just over a year, she had suffered a series of devastating losses. Her father had died at 78 on April 18, 1970; her son had died of kidney failure at 30 on September 12, 1970; and, unexpectedly, her husband, Lennie Hayton, died of a heart attack on April 24, 1971, just as Nature’s Baby was coming out. She was relatively inactive for a year, but finally began to perform again on a limited basis in March 1972. In 1974, she teamed up with Tony Bennett for a duo act that played in Europe and then came to the U.S., starting with a Broadway run at the Minskoff Theatre that played 37 performances between October 30 and November 24. The two then toured North America through March 1975. She re-signed to RCA yet again and produced two LPs, Lena and Michel, accompanied by Michel Legrand, in 1975 and Lena, a New Album in 1976. She continued to tour in the mid-’70s, playing dates with Vic Damone and with Count Basie & His Orchestra. Meanwhile, her son-in-law, film director Sidney Lumet, married to her daughter, Gail, was preparing a movie adaptation of The Wiz, the all-black version of The Wonderful Wizard of Oz that had opened on Broadway in 1975, and he cast her as Glinda the Good Witch. She sang “Believe in Yourself” in the film and on the soundtrack album, which reached the Top 40 and went gold upon its release in the fall of 1978. Meanwhile, she had starred in a revival of the 1940 musical Pal Joey on the West Coast in the spring of 1978, but the show closed without transferring to Broadway. She continued to make club appearances in the late ’70s, but in March 1980 announced her retirement and went on a farewell tour that ran from June to August.

But the 63-year-old singer did not retire. Instead, she mounted a one-woman show that she brought to Broadway. Lena Horne: The Lady and Her Music opened at the Nederlander Theatre on May 12, 1981, and was an instant hit. Within a month, she was given a special Tony Award marking its success, and the show played 333 performances, the longest run for a one-person production in Broadway history. The double-LP cast album released by Qwest Records made the pop and R&B LP charts, and it finally won her a Grammy Award for Best Pop Vocal Performance, Female; it also took the Grammy for Best Cast Show Album. After the show closed on June 30, 1982, Horne’s 65th birthday, she took it on tour around the country and to London through 1984. At the end of the year, she was a recipient of the Kennedy Center Honors for lifetime achievement in the arts.

Horne performed occasionally during the mid-’80s. In the fall of 1988, Three Cherries Records released her new album, The Men in My Life, which made number five in the jazz charts. She was given the Grammy Lifetime Achievement Award in 1989. She was less active in the early ’90s, but then underwent pacemaker surgery, and in June 1993 she performed a special show devoted to the music of her friend Billy Strayhorn (Duke Ellington’s musical partner) at the JVC Jazz Festival in New York. She recorded an album based on the show that was released by Blue Note Records in May 1994 under the title We’ll Be Together Again. It topped the jazz charts and earned her a Grammy nomination for Best Jazz Vocal Performance, but she lost to Etta James. She appeared on Frank Sinatra’s million-selling Duets II album and was one of the hosts of the 1994 documentary film That’s Entertainment! III, which, like its predecessors, presented some of her 1940s MGM musical performances, including ones previously unseen. She performed at Carnegie Hall in September 1994 and the same month recorded a new live album, An Evening With Lena Horne, issued by Blue Note in 1995. It reached the Top 20 of the jazz charts and won her the Grammy Award for Best Jazz Vocal Performance. In June 1997, her 80th birthday was celebrated by a show at the JVC Jazz Festival and the presentation to her of the Ella Award for Lifetime Achievement in Vocal Artistry. A year later, she released a new Blue Note album, Being Myself, which made the Top Ten of the jazz charts. She came out of retirement to record three Billy Strayhorn songs on Classic Ellington, a Blue Note album by Sir Simon Rattle released in September 2000. One further album, Seasons of a Life, appeared on Blue Note in 2006, but it encompassed earlier sessions from the mid- to late ’90s. In May 2010, Horne died at the age of 92. ~ William Ruhlmann

Sours: https://www.bluenote.com/artist/lena-horne/

Lena Horne

American singer, actress, civil rights activist and dancer

Lena Mary Calhoun Horne (June 30, 1917 – May 9, 2010) was an American dancer, actress, Grammy-winning singer, 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.

Horne advocated for human rights and took part in the March on Washington in August 1963. Later she returned to her roots as a nightclub performer and continued to work 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, retreating from the public eye in 2000. Horne died of congestive heart failure on May 9, 2010, at the age of 92.

Early life[edit]

Lena Horne was born in Bedford–Stuyvesant, Brooklyn.[1] Both sides of her family were African American with a mixture of African, Native American, and European ancestry. She belonged to the upper stratum of middle-class, well-educated Black people. She was reportedly descended from the John C. Calhoun family.[2][3]

Her father, Edwin Fletcher "Teddy" Horne Jr. (1893–1970),[4][5] was a numbers kingpin in the gambling trade. He left the family when she was 3 years old and moved to an upper-middle-class African American community in the Hill District community of Pittsburgh, Pennsylvania.[6][7] Her mother, Edna Louise Scottron (1894–1976), was a niece of inventor Samuel R. Scottron.[8] She was an actress with a Black theater troupe and traveled extensively.[9] Edna's maternal grandmother, Amelie Louise Ashton, was from modernSenegal.[10] Horne was raised mainly by her grandparents, Cora Calhoun and Edwin Horne.[5]

When Horne was five, she was sent to live in Georgia.[11] For several years, she traveled with her mother.[12] From 1927 to 1929, she lived with her uncle, Frank S. Horne. He was the Dean of students at Fort Valley Junior Industrial Institute (now part of Fort Valley State University) in Fort Valley, Georgia,[12] who later served as an adviser to President Franklin Delano Roosevelt.[13] From Fort Valley, southwest of Macon, Horne briefly moved to Atlanta with her mother; they returned to New York when Horne was 12 years old, after which Horne attended St Peter Claver School in Brooklyn.[12]

She then attended Girls High School, an all-girls public high school in Brooklyn that has since become Boys and Girls High School; she dropped out without earning a diploma. At age 18, she moved to her father's home in Pittsburgh, staying in the city's Little Harlem for almost five years and learning from native Pittsburghers Billy Strayhorn and Billy Eckstine, among others.[6]


Road to Hollywood[edit]

In the fall of 1933, Horne joined the chorus line of the Cotton Club in New York City. In the spring of 1934, she had a featured role in the Cotton Club Parade starring Adelaide Hall, who took Lena under her wing.[14] Horne made her first screen appearance as a dancer in the musical short Cab Calloway's Jitterbug Party (1935).[15] A few years later, Horne joined Noble Sissle's Orchestra, with which she toured and with whom she made her first records, issued by Decca. After she separated from her first husband, Horne toured with bandleader Charlie Barnet in 1940–41, but disliked the travel and left the band to work at the Cafe Society in New York. She replaced Dinah Shore as the featured vocalist on NBC's popular jazz series The Chamber Music Society of Lower Basin Street. The show's resident maestros, Henry Levine and Paul Laval, recorded with Horne in June 1941 for RCA Victor. Horne left the show after only six months when she was hired by former Cafe Trocadero (Los Angeles) manager Felix Young to perform in a Cotton Club-style revue on the Sunset Strip in Hollywood.[16]

Horne already had two low-budget movies to her credit: a musical feature called The Duke is Tops (1938, later reissued with Horne's name above the title as The Bronze Venus); and a two-reel short subject, Boogie Woogie Dream (1941), featuring pianists Pete Johnson and Albert Ammons. Horne's songs from Boogie Woogie Dream were later released individually as soundies. Horne made her Hollywood nightclub debut at Felix Young's Little Troc on the Sunset Strip in January 1942.[16] A few weeks later, she was signed by Metro-Goldwyn-Mayer. In November 1944, she was featured in an episode of the popular radio series Suspense, as a fictional nightclub singer, with a large speaking role along with her singing. In 1945 and 1946, she sang with Billy Eckstine's Orchestra.

She made her debut at Metro-Goldwyn-Mayer in Panama Hattie (1942) and performed the title song of Stormy Weather (1943) based loosely on the life of Adelaide Hall, for 20th Century Fox, while on loan from MGM. She appeared in several MGM musicals, including Cabin in the Sky (1943) with an all African American cast. She was otherwise not featured in a leading role because of her race and the fact that her films were required to be re-edited for showing in cities where theaters would not show films with Black performers. As a result, most of Horne's film appearances were stand-alone sequences that had no bearing on the rest of the film, so editing caused no disruption to the storyline. One number number from Cabin in the Sky was cut before release because it was considered too suggestive by the censors: Horne singing "Ain't It the Truth" while taking a bubble bath. This scene and song are featured in the film That's Entertainment! III (1994) which also featured commentary from Horne on why the scene was deleted prior to the film's release. Lena Horne was the first African-American elected to serve on the Screen Actors Guild board of directors.

In Ziegfeld Follies (1946), she performed "Love" by Hugh Martin and Ralph Blane. Horne lobbied for the role of Julie LaVerne in MGM's version of Show Boat (1951), having already played the role when a segment of Show Boat was performed in Till the Clouds Roll By, but lost the part to Ava Gardner, a friend in real life. Horne claimed this was due to the Production Code's ban on interracial relationships in films, although MGM sources state she was never considered for the role. In the documentary That's Entertainment! III, Horne stated that MGM executives required Gardner to practice her singing using Horne's recordings, which offended both actresses. Ultimately, Gardner's voice was overdubbed by actress Annette Warren (Smith) for the theatrical release.

Changes of direction[edit]

Horne became disenchanted with Hollywood and increasingly focused on her nightclub career. She made only two major appearances for MGM during the 1950s: Duchess of Idaho (1950, which was also Eleanor Powell's final film); and the musical Meet Me in Las Vegas (1956). She said she was "tired of being typecast as a Negro who stands against a pillar singing a song. I did that 20 times too often."[17] She was blacklisted during the 1950s for her affiliations in the 1940s with communist-backed groups. She would subsequently disavow communism.[1][18] She returned to the screen, playing Claire Quintana, a madam in a brothel who marries Richard Widmark, in the film Death of a Gunfighter (1969), her first straight dramatic role with no reference to her color.[17] She later appeared on screen two more times as Glinda in The Wiz (1978), which was directed by her then son-in-law Sidney Lumet, and co-hosting the MGM retrospective That's Entertainment! III (1994), in which she related her unkind treatment by the studio.

After leaving Hollywood, Horne established herself as one of the premier nightclub performers of the post-war era. She headlined at clubs and hotels throughout the U.S., Canada, and Europe, including the Sands Hotel in Las Vegas, the Cocoanut Grove in Los Angeles, and the Waldorf-Astoria in New York. In 1957, a live album entitled, Lena Horne at the Waldorf-Astoria, became the biggest-selling record by a female artist in the history of the RCA Victor label at that time. In 1958, Horne became the first African American woman to be nominated for a Tony Award for "Best Actress in a Musical" (for her part in the "Calypso" musical Jamaica) which, at Horne's request featured her longtime friend Adelaide Hall.

Horne performing on The Bell Telephone Hour, 1965

From the late 1950s through to the 1960s, Horne was a staple of TV variety shows, appearing multiple times on Perry Como's Kraft Music Hall, The Ed Sullivan Show, The Dean Martin Show, and The Bell Telephone Hour. Other programs she appeared on included The Judy Garland Show, The Hollywood Palace, and The Andy Williams Show. Besides two television specials for the BBC (later syndicated in the U.S.), Horne starred in her own U.S. television special in 1969, Monsanto Night Presents Lena Horne. During this decade, the artist Pete Hawley painted her portrait for RCA Victor, capturing the mood of her performance style.

In 1970, she co-starred with Harry Belafonte in the hour-long Harry & Lena special for ABC; in 1973, she co-starred with Tony Bennett in Tony and Lena. Horne and Bennett subsequently toured the U.S. and U.K. in a show together. In the 1976 program America Salutes Richard Rodgers, she sang a lengthy medley of Rodgers songs with Peggy Lee and Vic Damone. Horne also made several appearances on The Flip Wilson Show. Additionally, Horne played herself on television programs such as The Muppet Show, Sesame Street, and Sanford and Son in the 1970s, as well as a 1985 performance on The Cosby Show and a 1993 appearance on A Different World. In the summer of 1980, Horne, 63 years old and intent on retiring from show business, embarked on a two-month series of benefit concerts sponsored by the sorority Delta Sigma Theta. These concerts were represented as Horne's farewell tour, yet her retirement lasted less than a year.

On April 13, 1980, Horne, Luciano Pavarotti, and host Gene Kelly were all scheduled to appear at a Gala performance at the Metropolitan Opera House to salute the NY City Center's Joffrey Ballet Company. However, Pavarotti's plane was diverted over the Atlantic and he was unable to appear. James Nederlander was an invited Honored Guest and observed that only three people at the sold-out Metropolitan Opera House asked for their money back. He asked to be introduced to Horne following her performance. In May 1981, The Nederlander Organization, Michael Frazier, and Fred Walker went on to book Horne for a four-week engagement at the newly named Nederlander Theatre on West 41st Street in New York City. The show was an instant success and was extended to a full year run, garnering Horne a special Tony award, and two Grammy Awards for the cast recording of her show Lena Horne: The Lady and Her Music. The 333-performance Broadway run closed on Horne's 65th birthday, June 30, 1982. Later that same week, she performed the entire show again to record it for television broadcast and home video release. Horne began a tour a few days later at Tanglewood (Massachusetts) during the weekend of July 4, 1982. The Lady and Her Music toured 41 cities in the U.S. and Canada until June 17, 1984. It played in London for a month in August and ended its run in Stockholm, Sweden, September 14, 1984. In 1981, she received a Special Tony Award for the show, which also played to acclaim at the Adelphi Theatre in London in 1984.[19] Despite the show's considerable success (Horne still holds the record for the longest-running solo performance in Broadway history), she did not capitalize on the renewed interest in her career by undertaking many new musical projects. A proposed 1983 joint recording project between Horne and Frank Sinatra (to be produced by Quincy Jones) was ultimately abandoned, and her sole studio recording of the decade was 1988's The Men in My Life, featuring duets with Sammy Davis Jr. and Joe Williams. In 1989, she received the Grammy Lifetime Achievement Award.

In 1995, a "live" album capturing Horne's Supper Club performance was released (subsequently winning a Grammy Award for Best Jazz Vocal Album). In 1998, Horne released another studio album, entitled Being Myself. Thereafter, Horne retired from performing and largely retreated from public view, though she did return to the recording studio in 2000 to contribute vocal tracks on Simon Rattle's Classic Ellington album.[20]

Civil rights activism[edit]

Horne was long involved with the Civil Rights Movement. In 1941, she sang at Café Society, New York City's first integrated venue, and worked with Paul Robeson. During World War II, when entertaining the troops for the USO, she refused to perform "for segregated audiences or for groups in which German POWs were seated in front of Black servicemen", according to her Kennedy Center biography.[23] Because the U.S. Army refused to allow integrated audiences, she staged her show for a mixed audience of Black U.S. soldiers and white German POWs. Seeing the Black soldiers had been forced to sit in the back seats, she walked off the stage to the first row where the Black troops were seated and performed with the Germans behind her. However, the USO observed at the time of her death that Horne did in fact tour "extensively with the USO during WWII on the West Coast and in the South".[24] The organization also commemorated her for the appearances she made on Armed Forces Radio Service programs Jubilee, G.I. Journal, and Command Performances.[24] In the film Stormy Weather (1943), Horne's character would perform the film's title song as part of a big, all-star show for World War II soldiers as well.[25] After quitting the USO in 1945, Horne financed tours of military camps herself.[26]

She was at an NAACP rally with Medgar Evers in Jackson, Mississippi, the weekend before Evers was assassinated. She was at the March on Washington and spoke and performed on behalf of the NAACP, SNCC, and the National Council of Negro Women. She also worked with Eleanor Roosevelt in attempts to pass anti-lynching laws.[27]Tom Lehrer mentions her in his song "National Brotherhood Week" in the line "Lena Horne and Sheriff Clark are dancing cheek to cheek" referring (wryly) to her and to Sheriff Jim Clark, of Selma, Alabama, who was responsible for a violent attack on civil rights marchers in 1965. In 1983, the NAACP awarded her the Spingarn Medal.[28]

Horne was a registered Democrat and on November 20, 1963, she, along with Democratic National Committee (DNC) Chairman John Bailey, Carol Lawrence, Richard Adler, Sidney Salomon, Vice-Chairwoman of the DNC Margaret B. Price, and Secretary of the DNC Dorothy Vredenburgh Bush, visited John F. Kennedy at The White House,[29] two days prior to his assassination.

Personal life[edit]

Horne at her 80th birthday party, 1997

Horne married Louis Jordan Jones, a political operative,[30][31] in January 1937 in Pittsburgh. On December 21, 1937, their daughter, Gail (later known as Gail Lumet Buckley, a writer) was born. They had a son, Edwin Jones (February 7, 1940 – September 12, 1970) who died of kidney disease.[5] Horne and Jones separated in 1940 and divorced in 1944. Horne's second marriage was to Lennie Hayton, who was music director and one of the premier musical conductors and arrangers at MGM, in December 1947 in Paris. They separated in the early 1960s, but never divorced. He died in 1971.[32] In her as-told-to autobiography Lena by Richard Schickel, Horne recounts the enormous pressures she and her husband faced as an interracial couple. She later admitted in an interview in Ebony (May 1980) that she had married Hayton to advance her career and cross the color barrier in show business, but "learned to love him very much".[33]

Horne had affairs with Artie Shaw, Orson Welles, Vincente Minnelli, and the boxer Joe Louis.[16]

Horne also had a long and close relationship with Billy Strayhorn, whom she said she would have married if he had been heterosexual.[34] He was also an important professional mentor to her. Screenwriter Jenny Lumet, known for her award-winning screenplay Rachel Getting Married, is Horne's granddaughter, the daughter of filmmaker Sidney Lumet and Horne's daughter Gail.[35] Her other grandchildren include Gail's other daughter, Amy Lumet, and her son's four children, Thomas, William, Samadhi, and Lena. Her great-grandchildren include Jake Cannavale.[36]

Horne was Catholic.[37][38]

From 1946 to 1962, Horne resided in a St. Albans, Queens, New York, enclave of prosperous African Americans, where she counted among her neighbors Count Basie, Ella Fitzgerald, and other jazz luminaries.[39]


Horne died of congestive heart failure on May 9, 2010.[40] Her funeral took place at St. Ignatius Loyola Church on Park Avenue in New York, where she had been a member.[41] Thousands gathered and attendees included Leontyne Price, Dionne Warwick, Liza Minnelli, Jessye Norman, Chita Rivera, Cicely Tyson, Diahann Carroll, Leslie Uggams, Lauren Bacall, Robert Osborne, Audra McDonald, and Vanessa Williams. Her remains were cremated.[42]


In 2003, ABC announced that Janet Jackson would star as Horne in a television biographical film. In the weeks following Jackson's "wardrobe malfunction" debacle during the 2004 Super Bowl, however, Variety reported that Horne had demanded Jackson be dropped from the project. "ABC executives resisted Horne's demand", according to the Associated Press report, "but Jackson representatives told the trade newspaper that she left willingly after Horne and her daughter, Gail Lumet Buckley, asked that she not take part." Oprah Winfrey stated to Alicia Keys during a 2005 interview on The Oprah Winfrey Show that she might possibly consider producing the biopic herself, casting Keys as Horne.[43]

In January 2005, Blue Note Records, her label for more than a decade, announced that "the finishing touches have been put on a collection of rare and unreleased recordings by the legendary Horne made during her time on Blue Note." Remixed by her longtime producer Rodney Jones, the recordings featured Horne with a remarkably secure voice for a woman of her years, and include versions of such signature songs as "Something to Live For", "Chelsea Bridge", and "Stormy Weather". The album, originally titled Soul but renamed Seasons of a Life, was released on January 24, 2006. In 2007, Horne was portrayed by Leslie Uggams as the older Lena and Nikki Crawford as the younger Lena in the stage musical Stormy Weather staged at the Pasadena Playhouse in California (January to March 2009). In 2011, Horne was also portrayed by actress Ryan Jillian in a one-woman show titled Notes from A Horne staged at the Susan Batson studio in New York City, from November 2011 to February 2012. The 83rd Academy Awards presented a tribute to Horne by actress Halle Berry at the ceremony held February 27, 2011.[44]

In 2018, a forever stamp depicting Horne began to be issued; this made Horne the 41st honoree in the Black Heritage stamp series.[45]

In June 2021, the Prospect Park (Brooklyn) Bandshell was renamed the Lena Horne Bandshell to honor Horne, a Bed-Stuy Brooklyn native, and to show solidarity with the black community. [46]


Grammy Awards[edit]

Other awards[edit]

Year Organization Category Result Notes
1957 Tony Awards Best Actress Nominee Jamaica
1980 Howard UniversityHonorary doctorate[49]Honored
1980 Drama Desk Awards Outstanding Actress – Musical WonLena Horne: The Lady and Her Music
1980 New York Drama Critics Circle Awards Special Citation WonLena Horne: The Lady and Her Music
1981 Tony Awards Special Citation WonLena Horne: The Lady and Her Music
1984 John F. Kennedy Center for
the Performing Arts
Kennedy Center Honors[50]WonFor extraordinary talent, creativity, and perseverance
1985 Emmy Award Lena Horne: The Lady and Her MusicNominee
1987 American Society of Composers,
Authors and Publishers
The ASCAP Pied Piper Award[51]WonGiven to entertainers who have made significant contributions to words and music
1994 Sammy Cahn Lifetime Achievement Award Songwriters Hall of Fame Won
1997 Society of SingersSociety of Singers Lifetime Achievement Award[52]Wonfor "whom singers are awarded for their contribution to the world of music along with their dedicated efforts to benefit the community and worldwide causes"
1999 NAACP Image Award Outstanding Jazz ArtistWon
2006 Martin Luther King, Jr.
National Historic Site
International Civil Rights Walk of Fame[53]Inducted
? Hollywood Chamber of Commerce Hollywood Walk of Fame WonHonor (motion pictures)
? Hollywood Chamber of Commerce Hollywood Walk of Fame WonHonor (recordings)




  • What's My Line? (as Mystery Guest, September 27, 1953)
  • "What's My Line?" (as Mystery Guest, March 2, 1958)
  • The Judy Garland Show (as herself, October 13, 1963)
  • The Perry Como Show (as herself, March 5, 1965)
  • Sesame Street (as herself, Episode #5.1, November 19, 1973)
  • Sanford & Son ("A Visit from Lena Horne" as herself, #2. January 12, 1973)
  • The Muppet Show (as herself, 1976)
  • Sesame Street (as herself, Episode #7.76, March 15, 1976)
  • The Cosby Show ("Cliff's Birthday" as herself, May 9, 1985)
  • A Different World ("A Rock, a River, a Lena" as herself, July 1993)
  • Ed Sullivan Show January 6, 1957



  • Moanin' Low (Victor, 1942)
  • Classics in Blue (Black & White, 1947)
  • Lena Horne Sings (Tops, 1953)
  • It's Love (RCA Victor, 1955)
  • Lena Horne (Tops, 1956)
  • Jamaica with Ricardo Montalban (RCA Victor, 1957)
  • Stormy Weather (RCA Victor, 1957)
  • Lena Horne at the Waldorf Astoria (RCA Victor, 1957)
  • Lena and Ivie with Ivie Anderson (Jazztone, 1957)
  • I Feel So Smoochie (Lion, 1958)
  • Give the Lady What She Wants (RCA Victor, 1958)
  • Songs by Burke and Van Heusen (RCA Victor, 1959)
  • Porgy & Bess with Harry Belafonte (RCA Victor, 1959)
  • Lena Horne at the Sands (RCA Victor, 1961)
  • L' inimitable Lena Horne with Phil Moore (Explosive, 1962)
  • Lena...Lovely and Alive (RCA Victor, 1962)
  • Lena on the Blue Side (RCA Victor, 1962)
  • Fabulous! (Baronet, 1962)
  • Here's Lena Now! (20th Century Fox, 1963)
  • Swinging Lena Horne (Coronet, 1963)
  • Lena Horne Sings Your Requests (MGM, 1963)
  • Lena Like Latin (CRC Charter 1963)
  • Gloria Lynne & Lena Horne (Coronet, 1963)
  • The Incomparable Lena Horne (Tops, 1963)
  • Feelin' Good (United Artists, 1965)
  • Merry from Lena (United Artists, 1966)
  • Soul (United Artists, 1966)
  • Lena in Hollywood (United Artists, 1966)
  • The Horne of Plenty (World Record Club 1966)
  • Dinah Washington: A Memorial Tribute with Ray Charles, Sarah Vaughan (Coronet, 1967)
  • My Name Is Lena (United Artists, 1967)
  • Lena & Gabor with Gábor Szabó (Skye 1970)
  • Harry & Lena with Harry Belafonte (RCA, 1970)
  • Nature's Baby (Buddah, 1971)
  • Lena (Ember, 1971)
  • Lena & Michel with Michel Legrand (RCA Victor, 1975)
  • Lena: A New Album (RCA, 1976)
  • The Exciting Lena Horne (Springboard, 1977)
  • Love from Lena (Koala, 1979)
  • Lena Horne: The Lady and Her Music (Qwest, 1981)
  • A Date with Lena Horne 1944 (Sunbeam, 1981)
  • The One & Only (Polydor, 1982)
  • Standing Room Only (Accord, 1982)
  • The Men in My Life (Three Cherries, 1988)
  • Lena (Prestige, 1990)
  • We'll Be Together Again (Blue Note, 1994)
  • An Evening with Lena Horne (Blue Note, 1995)
  • Cabin in the Sky (TCM, 1996)
  • Wonderful Lena (Sovereign, 1997)
  • Being Myself (Blue Note, 1998)
  • The Complete Black and White Recordings (Simitar, 1999)
  • Stormy Weather (Bluebird, 2002)
  • Seasons of a Life (Blue Note, 2006)


See also[edit]


  1. ^ ab"About the Performer". American Masters. Lena Horne: In Her Own Words. May 14, 2010. PBS. Retrieved December 18, 2011.
  2. ^William Ruhlmann (2008). "Artist: Lena Horne Biography". Allmusic. Retrieved August 10, 2008.
  3. ^"Lena Horne, entertainer, died on May 9th, aged 92". The Economist. May 20, 2010. Retrieved June 30, 2017.
  4. ^"Lena Horne Bio – Lena Horne Career". MTV Artists.
  5. ^ abcMcLellan, Dennis; Nelson, Valerie J. (May 10, 2010). "Lena Horne dies at 92; singer and civil rights activist who broke barriers". Los Angeles Times. Archived from the original on November 14, 2010. Retrieved May 10, 2010.
  6. ^ abKalson, Sally (May 11, 2010). "Lena Horne came to Pittsburgh, then left to find stardom". Pittsburgh Post-Gazette. Retrieved June 30, 2017.
  7. ^Brewer, John M. (2007). Pittsburgh Jazz. Arcadia Publishing. p. 14. ISBN .
  8. ^"Wikitree - Samuel Raymond Scottron".
  9. ^"Ancestors & Descendants of Lena Mary Calhoun Horne". The Family Forest.
  10. ^Schickel, Richard; Horne, Lena (1965). Lena. Doubleday. p. 7.
  11. ^"Lena Horne on Tonight Show 1982 – Part 1". NBC/YouTube. 1982. Retrieved May 10, 2010.
  12. ^ abcCason, Caroline (November 15, 2013). "Lena Horne". New Georgia Encyclopedia. Retrieved June 30, 2017.
  13. ^Augustus F. Hawkins (November 18, 1992). "Black Leadership in Los Angeles: Tape Number: II, Side Two" (transcript). Interviewed by Clyde Woods. pp. 66–67. Retrieved January 8, 2009.
  14. ^World Catalogue: Underneath A Harlem Moon by Iain Cameron Williams ISBN 0-8264-5893-9
  15. ^Lefkovitz, Aaron (2017). Transnational Cinematic and Popular Music Icons: Lena Horne, Dorothy Dandridge, and Queen Latifah, 1917-2017. Lexington Books. p. 5. ISBN .
  16. ^ abcGavin, James (June 23, 2009). Stormy Weather: The Life of Lena Horne. Altria Books. ISBN .
  17. ^ ab"Lena Horne Weds Widmark In 'Patch'; U's Race Gesture". Variety. May 15, 1968. p. 3.
  18. ^Meroney, John (August 27, 2015). "The Red-Baiting of Lena Horne". The Atlantic. Retrieved August 28, 2015.
  19. ^Simonson, Robert (May 10, 2010). "Lena Horne, Singer and Actress, Dies at 92". Playbill.
  20. ^Fordham, John (May 10, 2010). "Lena Horne obituary". Guardian News & Media Limited. Retrieved September 30, 2021.
  21. ^Pilkington, Ed (May 10, 2010). "Lena Horne: a silken voice and fiery pride". Guardian News & Media Limited. Retrieved September 30, 2021.
  22. ^Ralston Major, Glenda; Clark Johnson, III, Forrest; Lanning Minchew, Kaye (2011). LaGrange. Charleston South Carolina: Arcadia Publishing. p. 90. ISBN . Retrieved September 30, 2021.
  23. ^"Lena Horne: Biography". The Kennedy Center. Retrieved June 30, 2017.
  24. ^ ab"Remembering Lena Horne". USO.org. May 11, 2010. Retrieved December 21, 2020.
  25. ^Selections from the Katherine Dunham Collection. "Stormy Weather". Library of Congress. Retrieved December 21, 2020.
  26. ^Tucker, Sherrie (2000). Swing Shift: "All-Girl" Bands of the 1940s. Duke University Press. p. 240. ISBN .
  27. ^"Lena Horne Biography". Encyclopedia of World Biographies. Retrieved June 30, 2017.
  28. ^"Spingarn Medal Winners: 1915 to Today". NAACP. Archived from the original on August 2, 2014.
  29. ^"Visit of Democratic National Committee (DNC) Chairman John Bailey, Lena Horne, Carol Lawrence, Richard Adler, Sidney Salomon, Vice-Chairwoman of the DNC Margaret B. Price, and Secretary of the DNC Dorothy Vredenburgh Bush, 11:30AM - John F. Kennedy Presidential Library & Museum". Jfklibrary.org. Retrieved July 21, 2017.
  30. ^"Lena Horne – Found Romance and Children In Pittsburgh on Her Way to Super Stardom". Pittsburgh Music History. Retrieved July 11, 2018.
  31. ^Imani Davy (February 26, 2015). "Black History Month Tribute to Lena Horne: The Actress and Activist". The Spectrum Student Newspaper · Bowie State University. Retrieved July 11, 2018.
  32. ^"Lena Horne Obituary". The Daily Telegraph. May 10, 2010. Retrieved June 30, 2017.
  33. ^"Ebony Interview: Lena Horne". Ebony: 38–50. May 1980.
  34. ^Hajdu, David (June 26, 1997). Lush Life: A Biography of Billy Strayhorn. New York: North Point Press. p. 95. ISBN .
  35. ^Ebert, Roger (October 10, 2008). "Ella unenchanted goes to a wedding – Demme explores concept of family". Chicago Sun-Times. p. B1.
  36. ^Gioia, Michael (February 20, 2015). "Heavy Metal Rocker and Broadway's New Fish: Get to Know Bobby Cannavale's Teenage Son, Jake". Playbill. Retrieved June 30, 2017.
  37. ^"Catholic funeral said for groundbreaking singer-actress Lena Horne". Archdiocese of Baltimore. January 19, 2012. Retrieved December 19, 2020.
  38. ^Allison (May 17, 2010). "Why I Am Catholic: Because Lena Horne Found Solace in the Church". Why I Am Catholic. Retrieved December 19, 2020.
  39. ^"This Green and Pleasant Land" by Bryan Greene, in Poverty and Race, page 3.
  40. ^Bernstein, Adam (May 11, 2010). "Lena Horne Dies at 92". The Washington Post.
  41. ^Morman, Dr Robert R. (December 31, 2010). Adieus to Achievers. AuthorHouse. ISBN  – via Google Books.
  42. ^Barron, James (May 14, 2010). "Lena Horne, Who Moved Barriers and Emotions, Is Remembered". The New York Times.
  43. ^Cane, Clay (February 24, 2012). "Where Is the Lena Horne Biopic?". BET News.
  44. ^"Halle Berry Pays Tribute to Lena Horne at Oscars". Essence. February 28, 2011.
  45. ^"Lena Horne honored with postage stamp | Entertainment". phillytrib.com. June 30, 1917. Retrieved February 7, 2018.
  46. ^"Prospect Park Bandshell renamed Lena Horne Bandshell". prospectpark.org. June 25, 2021. Retrieved September 1, 2021.
  47. ^"Archived copy". Archived from the original on December 31, 2008. Retrieved December 5, 2008.CS1 maint: archived copy as title (link)
  48. ^"The Envelope: Hollywood's Awards and Industry Insider - Los Angeles Times". Theenvelope.latimes.com. July 13, 2017. Retrieved July 21, 2017.
  49. ^"Archived copy". Archived from the original on June 13, 2007. Retrieved June 9, 2007.CS1 maint: archived copy as title (link)
  50. ^"Past Honorees". Kennedy-center.org. Retrieved July 21, 2017.
  51. ^"ASCAP Error Page". www.ascap.com.
  52. ^"Ella Award Special Events". February 12, 2011. Archived from the original on May 14, 2015. Retrieved May 10, 2015.
  53. ^[1]Archived December 12, 2007, at the Wayback Machine
  54. ^"Noble Sissle and his Orchestra". redhotjazz.com.


  1. ^Lena Horne performed for members of the United States military many times. Often she was required to perform for white troops first. She could only perform for the black troops the next day in a separate blacks only mess hall.[21] She performed for the first black pilots, (the Tuskegee Airmen) many times during World War II.[22]


  • Gavin, James, Stormy Weather, The Life of Lena Horne, Atria, 2009. ISBN 978-0-7432-7143-1
  • Haskins, James, and Kathleen Benson, Lena, Stein and Day, 1984. ISBN 0-8128-2853-4
  • Horne, Lena, and Richard Schickel, Lena, Doubleday, 1965. ISBN 978-0-385-08034-7
  • Williams, Iain Cameron Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. Bloomsbury Publishers, ISBN 0-8264-5893-9

External links[edit]

Sours: https://en.wikipedia.org/wiki/Lena_Horne

Horne album lena

Subtle, graceful schemes do not work, but simple and primitive ones shoot so, you will be surprised. This is, in fact, a technique. Helps to unwind. To repent and provoke. Unfold yourself, relax and provoke your partner.

Lena Horne - Stormy Weather (1943)

From this look and from the spasms of the vagina, I also finished in it. Squeezed like a lemon, I pulled on my pants and plopped down on the bench. Pretty woman got up from the hood and began to look around in the garage. Seeing the tray for washing the feet, she confidently walked towards it and, without removing the hairpins, stepped into it, sat down and in front of my eyes a strong.

Now discussing:

No, your balls really burst, but why didnt you feel it, Lena said. What surprised me. We discussed it for a long time.

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