NEW YORK | Lena Horne, the enchanting jazz singer and actress known for her plaintive, signature song “Stormy Weather” and for her triumph over the bias that allowed her to entertain white audiences but not socialize with them, has died. She was 92.
Miss Horne died Sunday at New York-Presbyterian Hospital, said hospital spokeswoman Gloria Chin, who would not release details.
“Her timeless legacy will forever be celebrated as part of the fabric of American popular music, and our deepest sympathies go out to her family, friends and fans worldwide as we all mourn the loss of one of music’s signature voices,” Neil Portnow, president and CEO of the Recording Academy, said Monday in a statement.
Miss Horne, whose striking beauty often overshadowed her talent and artistry, was remarkably candid about the underlying reason for her success: “I was unique in that I was a kind of black that white people could accept,” she once said. “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.”
“I knew her from the time I was born, and whenever I needed anything, she was there. She was funny, sophisticated and truly one of a kind. We lost an original. Thank you, Lena,” Liza Minnelli said Monday. Her father, director Vincente Minnelli, brought Miss Horne to Hollywood to co-star in “Cabin in the Sky,” in 1943, one of the few major Hollywood films of the era with an all-black cast.
In the 1940s, Miss Horne was one of the first black performers hired to sing with a major white band, to play the Copacabana nightclub in New York City, and when she signed with MGM, she was among a handful of black actors to have a contract with a major Hollywood studio.
In 1943, MGM Studios loaned her to 20th Century-Fox to play the role of Selina Rogers in the all-black musical “Stormy Weather.” Her rendition of the title song became a major hit and her most famous tune.
Miss Horne had an impressive musical range, from blues and jazz to the sophistication of Rodgers and Hart in such songs as “The Lady Is a Tramp” and “Bewitched, Bothered and Bewildered.” In 1942’s “Panama Hattie,” her first movie with MGM, she sang Cole Porter’s “Just One of Those Things,” winning critical acclaim.
In her first big Broadway success, as the star of “Jamaica” in 1957, reviewer Richard Watts Jr. called her “one of the incomparable performers of our time.” Songwriter Buddy de Sylva dubbed her “the best female singer of songs.”
“It’s just a great loss,” said Janet Jackson on Monday. “She brought much joy into everyone’s lives — even the younger generations, younger than myself. She was such a great talent. She opened up such doors for artists like myself.”
Miss Horne was perpetually frustrated with racism.
“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,” she said in Brian Lanker’s book “I Dream a World: Portraits of Black Women Who Changed America.”
While at MGM, Miss Horne starred in the all-black “Cabin in the Sky,” but in most movies, she appeared only in musical numbers that could be cut when shown in the South, and she was denied major roles and speaking parts. Miss Horne, who had appeared in the role of Julie in a “Show Boat” scene in a 1946 movie about Jerome Kern, seemed a logical choice for the 1951 movie, but the part went to a white actress, Ava Gardner, who did not sing.
“Metro’s cowardice deprived the musical [genre] of one of the great singing actresses,” film historian John Kobal wrote.
“She was a very angry woman,” said film critic-author-documentarian Richard Schickel, who worked with Miss Horne on her 1965 autobiography. “It’s something that shaped her life to a very high degree. She was a woman who had a very powerful desire to lead her own life, to not be cautious and to speak out. And she was a woman, also, who felt in her career that she had been held back by the issue of race.”
Early in her career, Miss Horne cultivated an aloof style out of self-preservation. Later, she embraced activism, breaking loose as a voice for civil rights and as an artist. In the last decades of her life, she rode a new wave of popularity as a revered icon of American popular music.
Her 1981 one-woman Broadway show, “Lena Horne: The Lady and Her Music,” won a special Tony Award and two Grammy Awards. In it, the then-64-year-old singer used two renditions — one straight and the other gut-wrenching — of “Stormy Weather” to give audiences a glimpse of the spiritual odyssey of her five-decade career.
Lena Mary Calhoun Horne was born in Brooklyn, N.Y., on June 30, 1917, to a leading family in black society. Her daughter, Gail Lumet Buckley, wrote in her 1986 book “The Hornes: An American Family” that among their relatives was Frank Horne, an adviser to President Franklin D. Roosevelt.
She was largely raised by her grandparents as her mother, Edna Horne, who pursued a career in show business and father Teddy Horne separated. She dropped out of high school at age 16 and joined the chorus line at the Cotton Club, the fabled Harlem nightclub where the entertainers were black and the clientele white. She left the club in 1935 to tour with Noble Sissle’s orchestra, billed as Helena Horne, the name she continued using when she joined Charlie Barnet’s white orchestra in 1940.
Miss Horne was only 2 when her grandmother, a prominent member of the Urban League and the National Association for the Advancement of Colored People, enrolled her in the NAACP. But she avoided activism until 1945 when she was entertaining at an Army base and saw German prisoners of war sitting upfront, while black American soldiers were consigned to the rear.
By the 1960s, Miss Horne was one of the most visible celebrities in the civil rights movement, once throwing a lamp at a customer who made a racial slur in a Beverly Hills restaurant and, in 1963, joining 250,000 others in the March on Washington for Jobs and Freedom when Martin Luther King Jr. gave his “I Have a Dream” speech.
The next decade brought her first to a low point, with several family deaths, then to a fresh burst of artistry. She appeared in her last movie in 1978, playing Glinda the Good in “The Wiz,” directed by her son-in-law, Sidney Lumet.
Miss Horne had married MGM music director Lennie Hayton, a white man, in Paris in 1947 after her first overseas engagements in France and England. An earlier marriage to Louis J. Jones had ended in divorce in 1944 after producing daughter Gail and a son, Teddy.