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Lena Horne: A Glamorous Revolutionary

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Posted on May 11, 2010
Lena Horne
Wikimedia Commons

Lena Horne appears in this still from the film “Till the Clouds Roll By”.

By Eugene Robinson

“Lena Horne is coming on!”

When I was growing up, those words were the signal to drop everything and rush to the family room, where Ed Sullivan or Perry Como or Dean Martin had just announced the next performer. At the time, I didn’t understand why it was unthinkable to miss one of Horne’s appearances. I didn’t yet realize that she was one of the most significant American entertainers of the 20th century—and certainly didn’t realize how burdened she was by her trailblazing success.

Horne, who died Sunday at 92, was an infiltrator. She strode confidently through doors that had been closed to African-American entertainers, and was able to do so because white audiences found her not just beautiful and talented, but also non-threatening. Late in her life, she gave a sense of how difficult that role had been to play.

“My identity is very clear to me now,” she said when she was 80. “I am a black woman. I’m free. I no longer have to be a ‘credit.’ I don’t have to be a symbol to anybody; I don’t have to be a first to anybody. I don’t have to be an imitation of a white woman that Hollywood sort of hoped I’d become. I’m me, and I’m like nobody else.”

Indeed, she was different. She was light-skinned, with just enough tan in her complexion to make it evident that she wasn’t white. Her nose was narrow, almost turned-up; her hair, in the fashion of the times, was always straightened. She was, by any standard, gorgeous. But she knew that the racial ambiguity of her looks allowed her to attain a level of stardom that was inaccessible to singers and actors who conformed more closely to white America’s image of “black.”

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There was no ambiguity, however, in her sense of herself as a black woman—or in her strong political and social views. She was the first black performer to sign a long-term contract with one of the major Hollywood studios, earning $1,000 a week from MGM in the 1940s; she made thousands more from radio and nightclub appearances, and in 1945 was described in a magazine article as “the nation’s top Negro entertainer.”

MGM cast her in a series of musicals, showcasing not just her voice but her beauty and sophistication. But the studio made sure that her scenes could be easily scissored out of prints of the movies that were destined for theaters in the South, where audiences would not have accepted a black actor as anything but a servant or a savage. Meanwhile, Horne was envied and even resented by other black actors in Hollywood who had to play servants and savages to get any work at all.

“They didn’t make me into a maid, but they didn’t make me anything else, either,” Horne wrote in her autobiography. “I became a butterfly pinned to a column, singing away in Movieland.”

Horne was always outspoken about civil rights. During World War II, she complained about how black soldiers—who had made her a popular pinup, essentially the black Betty Grable—were being treated in the segregated Army. Her refusal to perform for segregated audiences got her disinvited from USO tours.

Horne blamed her activism and her associations for the waning of her movie career after her MGM contract expired in 1950; actor Paul Robeson and scholar W.E.B. Du Bois, both known for their left-leaning views, were among her good friends. There is no evidence that she was ever actually blacklisted, however. Tastes changed, and musicals became passé. By the time that black actors began to get substantial dramatic roles in the movies, Horne was already past leading-lady age.

She wasn’t a great singer like Ella Fitzgerald or Sarah Vaughan. Hattie McDaniel and Dorothy Dandridge were better actors. But Lena Horne was a much more important figure in American social history, because she was able to bridge the gap between the black and white in a way that others could not. She could be vocal, even strident in her advocacy for civil rights; she could be a proud black woman who stood up for African-American causes and refused to back down. But she could do all of this without ever seeming alienated.

She would come on Ed Sullivan’s show and sing “Stormy Weather,” and she would own the stage—a glamorous, elegant revolutionary who helped change the way American eyes perceived black and white.
   
Eugene Robinson’s e-mail address is eugenerobinson(at)washpost.com.
   
© 2010, Washington Post Writers Group
   


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By NYCartist, May 13, 2010 at 7:57 am Link to this comment

camnai:you do have a sense of humor, I think.  On handshakes, as a woman shaking hands with a man: I just shake hands, firm but not crushing.

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By camnai, May 13, 2010 at 5:43 am Link to this comment

NYCartist: I suppose the internet wouldn’t be half so much fun without the
occasional misinterpretation; men of my generation have been accused of so
much of which we are in fact guilty that I am always quite happy to leap to our
defence when I sense a charge that I feel is unfounded. I also meant no further
blanket assessment of Kentucky people, of whom I know none, than to say that
it has the reputation of being a rather conservative place with only a few of its
citizens espousing the most progressive ideas of a particular time, which
women’s liberation was in the late 1960s.

    The extension of handshakes to women, to sidetrack for a moment, has
complications. In shaking hands with another man, you want yours to be ‘firm’,
indicating that you are ‘reliable’. Too much strength is overbearing and
aggressive, too little can signify, among many other things, distaste for the
person you are meeting. There is probably also, at a subconscious level,
something of ‘I’m just as tough as you are, so don’t mess with me.’ (I realize
that this is nonsense, but if your bedrock is nonsense, that’s where as a wise
man you have to build your house.) With a woman, since most men have bigger
hands, you can’t use your normal mano-a-mano handshake, because you’ll
crush hers. I do basically a ‘touch palms and let go’, figuring that she is
probably reading me in all sorts of other ways that I don’t know about, and the
handshake, other than the fact of its taking place, is not that important and will
not save me.

    However, it strikes me that another reason Muhammad Ali may have been
reluctant to shake your hand (since in fact you did offer it) was that you were—
or ‘are’—a white woman.

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Gloria Picchetti's avatar

By Gloria Picchetti, May 12, 2010 at 7:44 pm Link to this comment

She was a great singer and beautiful person.

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By Mestizo Warrior, May 12, 2010 at 2:08 pm Link to this comment

Sister Lena will be sorely missed. She had talent like no other. She had beauty like no other. She also had courage and conviction like no other. For this I as a Chicano activist and aficionado of jazz must pay her compliments!

Rest in peace, Ms. Horne!

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By NYCartist, May 12, 2010 at 10:15 am Link to this comment

camnai: I had a very close artist friend in KY for about two decades.  He died a few years ago.  He was both a “Kentucky Colonel” and a disability rights activist. (I’m also the latter).  He had a marvelous sense of humor.  Before I was online, he’d get printouts of things and send them to me via US mail. And he researched the lack of wheelchair access in the Congress for me, including emailing the guy in charge of the building.  And since this article is about music, I’ll add that after I heard Dr. John on the radio, my KY friend found out the info for me and I could find cassettes of Dr. John’s music.

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By NYCartist, May 12, 2010 at 10:09 am Link to this comment

camnai: I did hold out my hand until I realized what was happening.  Having grown up in an Orthodox Jewish family, and in my mid20s at the time of the event at the Waldorff-Astoria, I was long familiar with separation of men and women and related rules.  Many things are similar in both Muslim and Orthodox Jewish tradition: dietary rules, burial rules, are both very similar.  Halal is like kosher:no pork, etc. and burial is next day, in white shroud, pine box (as my father was buried in 1950, altho he was not fully Jewish, his mother was).

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By NYCartist, May 12, 2010 at 10:02 am Link to this comment

camnai, I’m reporting what happened.  I do not/did not fault the fighter for not taking my hand.  You misinterpret.  I was surprised until I figured it out.

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By camnai, May 12, 2010 at 7:59 am Link to this comment

Two quibbles, the first with Mr Robinson. Taste in singers is of course
subjective, but I think Lena Horne was indeed a great singer. More like Billie
Holliday than Ella Fitzgerald, perhaps, but she had fantastic control of her voice
throughout her entire range, great accuracy of pitch and a tremendous bluesy
attack on a note where she came in from just under it, imaginative phrasing,
and a tremendous ability to glissando.

With NYCartist: while I am sure that a prizefighter from Kentucky is unlikely in
1966 or 67 to have been the perfect liberated male, it was likely out of respect
and good manners that Muhammad Ali did not shake your hand. Unless you
held it out and he ignored it (which would have been rude even then), the rule
then was that a gentleman did not initiate physical contact with a lady. To do
so was to show disrespect both to the lady and to her escort, in this case your
relative. You can fault the widely held assumptions that manifested themselves
in that code of manners, but I don’t think you can fault Muhammad Ali, who
like Elvis Presley was always very polite, for obeying the code under which he
was raised.

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G.Anderson's avatar

By G.Anderson, May 11, 2010 at 2:59 pm Link to this comment

A beautiful lady, her own words say it best…

“My identity is very clear to me now,” she said when she was 80. “I am a black woman. I’m free. I no longer have to be a ‘credit.’ I don’t have to be a symbol to anybody; I don’t have to be a first to anybody. I don’t have to be an imitation of a white woman that Hollywood sort of hoped I’d become. I’m me, and I’m like nobody else.”

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By grumpynyker, May 11, 2010 at 8:45 am Link to this comment
(Unregistered commenter)

Ms. Lena Horne was a beautiful LADY; in stark contrast
to the abominable Betty White (who the media insists on
tossing in the spotlight).  Thanks to America’s allergy
to race, she should’ve been a much bigger movie star
than other white female “actresses” in her day (Judy
Garland anyone?).  I’ll be watching the four picture
tribute to her on TCM on May 21st.

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By NYCartist, May 11, 2010 at 8:17 am Link to this comment

“Infiltrator” is not a good word due to its connotations, especially in relation to the time Lena Horne began her activism for human rights.  There was a good segment on http://www.democracynow.org this morning with her biographer.

In 1967 (or 1966), I stood near Lena Horne at the Waldorf Astoria at a fundraiser for the Free Southern Theater; I had a relative who briefly worked for the integrated theater and we got invited, coming up from NOLA where we and the theater were based.  I was awed by her beauty.  My relative was talking with Muhammad Ali and shook his hand.  He wouldn’t shake mine, as I’m a woman.

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