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.
She 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 theatre in which black performers played before white audiences, immortalized in the film - 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 she had never made a film, 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 appearances 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 theatres in the South refused to show films that portrayed blacks in anything other than subservient roles to whites, and most film 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 her 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. Rumours 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. That was not the only feud on that picture, however. Other cast members sniped at one another and it was a wonder the film was made at all. Regardless of the hostilities, the film 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's.
Lena's musical career flourished, but her film 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).
After leaving Hollywood in the1950's, Lena Horne established herself as one of the première nightclub performers of the post-war era. She headlined at clubs and hotels throughout the US, 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 (At the Waldorf Astoria / At the Sands), became the largest selling record by a female artist in the history of the RCA-Victor label.
From the late 1950s through the 1960s, Horne was a staple of TV variety shows, appearing multiple times on Perry Como's Kraft Music Hall, Ed Sullivan, The Dean Martin Show and The Bell Telephone Hour. Other programs included, The Judy Garland Show, The Hollywood Palace and The Andy Williams Show. Besides two television specials for the BBC (later syndicated in the US), Horne starred in her own US television special in 1969, Monsanto Night Presents Lena Horne. In 1970, she co-starred with Harry Belafonte in the hour long "Harry & Lena" for ABC; in 1973, she co-starred with Tony Bennett in "Tony and Lena." Horne and Bennett subsequently toured the US and UK in a show together. A very memorable appearance was in the 1976 program "America Salutes Richard Rodgers," where 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 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, Lena Horne, 63 years old and intent on retiring from show business, embarked on a two month series of benefit concerts sponsored by Delta Sigma Theta. These concerts were represented as Horne's farewell tour, yet her retirement lasted less than a year.
In May 1981, The Nederlander Organization booked Lena Horne for a four week engagement at the newly named Nederlander Theatre (formerly the Trafalgar, the Billy Rose and the National) 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 65 birthday, June 30, 1982. Later that same week, the entire show was performed again and video taped for television broadcast and home video release. The tour began a few days later at Tanglewood (MA) during the 1982 July 4 weekend. "The Lady and Her Music" toured 41 cities in the U.S and Canada through June 17, 1984. It played in London for a month in August and ended its run in Stockholm, Sweden, September 14, 1984.
In 1958, Horne was nominated for a Tony Award for "Best Actress in a Musical" (for her part in the "Calypso" musical Jamaica) In 1981 she received a Special Tony Award for her one-woman show, Lena Horne: The Lady and Her Music. 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.
The 1990s found Horne considerably more active in the recording studio - all the more remarkable considering she was approaching her 80th year. Following her 1993 performance at a tribute to the musical legacy of her good friend Billy Strayhorn (Duke Ellington's long-time pianist and arranger), she decided to record an album composed largely of Strayhorn's and Ellington's songs the following year, We'll Be Together Again. To coincide with the release of the album, Horne made what would be her final concert performances at New York's Supper Club and Carnegie Hall. That same year, Horne also lent her vocals to a recording of "Embraceable You" on Sinatra's "Duets II" album. Though the album was largely derided by critics, the Sinatra-Horne pairing was generally regarded as its highlight. In 1995, a "live" album capturing her Supper Club performance (Live At The Supper Club) was released and subsequently won a Grammy Award for Best Jazz Vocal Album. In 1998, at the age of 81, Horne released another studio album, entitled Being Myself. Thereafter, Horne essentially 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.
Had it not been for the prevailing racial attitudes during the time when Lena was just starting her career, her success might have been much bigger, and come much sooner. Even taking those factors into account, Lena Horne was one of the most respected, talented and beautiful performers of all time. She lived in New York City until her death in May of 2010.
New-Fangled Tango
Lena Horne Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cha-cha happy, but I'm lazy
I don't dig that frantic turpsichord
When I trip the light fantastic
I don't wanna be gymnastic
That's not what a dancing floor is for
With a very minimum amount of movement
Let the other couples push and shove
What I got in mind I think you're gonna love
I got a new-fangled tango
And there's nothing to it
You just sort of stand there
And just sort of do it
You stand close together
There's no wasted motion
A new fangled tango
An old fashioned motion
The floor may be crowded
But that doesn't matter
It's not necessary to move
Don't move, why move
It may be crowded
But that's all the better
It's just like romancing, while dancing
Who's dancin'
You start off with one step
And cling to each other
And you know how one step
Can lead to another
Oh, there's nothing wrong with
A waltz or fandango
But oh, what can come from
A new fangled tango
You cling to your partner
And sway to the rhythm
You can't lose your partner
'Cause you're right there with him
You don't have to be worry
About fast or slow steps
The nice part about it
In this dance, you don't need steps
You don't have to worry
If your dancing won't do
It's not what you do do
It's more what you don't do
You don't need a waltz
Or a fancy fandango
You just need a man
And a new fangled tango
Forget the fandango
Give up the mambo
Do the tango
In Lena Horne's song "New-Fangled Tango", the singer expresses her disinterest in the popular dance styles of her time, such as the mambo and cha-cha. She wants to dance a slow, intimate dance where there is no need for excessive movement or acrobatics. She proposes a new-fangled tango, where the couple simply stands close together and sways to the rhythm of the music, without worrying about fast or slow steps. The focus is on the connection between the two dancers and the romance that can come from the simplicity of the dance.
The lyrics convey a sense of rebellion against the norms of dance and society at the time, as well as a longing for more meaningful connections in life. The emphasis on the closeness of the dancers and the lack of movement required also highlights the importance of slowing down and enjoying the moment, rather than rushing through life.
Line by Line Meaning
Everybody's mambo crazy
Everyone is obsessed with fast-paced dance styles like the mambo.
Cha-cha happy, but I'm lazy
While others may enjoy energetic dances like the cha-cha, the singer prefers a more relaxed style.
I don't dig that frantic turpsichord
The singer dislikes the frenetic music often associated with the aforementioned dance styles.
When I trip the light fantastic
When the singer dances.
I don't wanna be gymnastic
The singer doesn't want to perform complicated acrobatic moves while dancing.
That's not what a dancing floor is for
The purpose of a dance floor is not to show off athletic abilities, but to enjoy oneself and connect with a partner.
What I got in mind is a big improvement
The singer has an idea for a dance that they believe is better than current popular styles.
With a very minimum amount of movement
The new dance is simple and requires little effort.
Let the other couples push and shove
While others may enjoy the rough-and-tumble of crowded dance floors, the singer's new dance is more serene and restrained.
What I got in mind I think you're gonna love
The singer is confident that others will enjoy the new dance style.
I got a new-fangled tango
The singer has devised a new type of tango dance.
And there's nothing to it
The new tango is easy to perform.
You just sort of stand there
The new dance does not require elaborate movement or footwork.
And just sort of do it
The new dance is so simple that it can be performed with minimal effort or thought.
You stand close together
The new tango requires the dancers to be in close proximity to one another.
There's no wasted motion
The new dance does not involve the flailing limbs or acrobatic moves of other dance styles.
A new fangled tango
The singer is emphasizing that this is a new and different type of tango.
An old fashioned motion
Despite being a new dance style, the singer suggests that the new tango embodies classic, romantic values.
The floor may be crowded
The new dance can be performed even in crowded spaces.
But that doesn't matter
The new tango does not require a lot of space or elaborate footwork.
It's not necessary to move
As previously stated, the new dance requires minimal movement.
Don't move, why move
The singer is questioning the need for complex movements or acrobatics in dance.
It may be crowded
The singer repeats the previous point to emphasize that the dance is not confined to open spaces.
But that's all the better
The closeness of two partners in a crowded space can make the dance even more romantic and intimate.
It's just like romancing, while dancing
The singer is comparing the new tango to a romantic encounter.
Who's dancin'
The singer suggests that the connection between two partners is more important than the actual dance steps themselves.
You start off with one step
The new dance is built around a simple, singular movement.
And cling to each other
As previously stated, the new dance requires the partners to remain close throughout the dance.
And you know how one step
The singer suggests that even a small movement can lead to something greater.
Can lead to another
The singer repeats the previous point for emphasis.
Oh, there's nothing wrong with
The singer is not discrediting the value of other dance styles.
A waltz or fandango
Specifically, the singer is acknowledging the value of these classic dances.
But oh, what can come from
However, the singer believes that the new tango has its own unique benefits and pleasures.
A new fangled tango
The singer repeats the name of the new dance for emphasis.
You cling to your partner
As previously stated, the new dance requires the partners to stay close throughout the dance.
And sway to the rhythm
The new dance emphasizes natural, flowing movement that matches the rhythm of the music.
You can't lose your partner
Even if the dance is performed in a crowded space, the partners remain close to one another and in sync with the music.
'Cause you're right there with him
The singer is emphasizing the importance of the connection between the partners.
You don't have to be worry
The new dance does not require the dancers to be worried or stressed about their performance.
About fast or slow steps
The new dance does not require precise footwork or timing.
The nice part about it
The singer emphasizes one of the benefits of the new tango.
In this dance, you don't need steps
As previously stated, the new dance requires minimal movement and does not rely on precise timing or footwork.
You don't have to worry
The singer repeats the same point again for emphasis.
If your dancing won't do
The singer is reassuring the listeners that their ability to dance well is not important for this style.
It's not what you do do
The singer emphasizes the lack of importance of traditional dance steps or techniques.
It's more what you don't do
The new dance style is unique in that it is defined by what one doesn't do rather than what they do do.
You don't need a waltz
The singer repeats the importance of other classic dance styles, but suggests that the new tango is a refreshing alternative.
Or a fancy fandango
In particular, the singer is pointing out the value of classic dances without complex movements or acrobatics.
You just need a man
The new tango emphasizes the connection and relationship between the two partners.
And a new fangled tango
The singer emphasizes the name of the new dance one more time.
Forget the fandango
The singer is urging the listener to forget about other dance styles and embrace the new tango.
Give up the mambo
The singer is suggesting that other dance styles are too frenetic and not as meaningful or pleasurable as the new tango.
Do the tango
Finally, the singer is urging the listener to simply try the new tango and experience its unique benefits and pleasures.
Lyrics © Warner Chappell Music, Inc.
Written by: HAROLD KARR, MATT DUBEY
Lyrics Licensed & Provided by LyricFind
Bella Newton
Fantastic, I have not heard this for many years but still great. Lena Horne is and was a superb performer, great and thank you for posting.
Randolph Jones
A wonderful track, a marvellous singer, a terrific song, a gorgeous performance. Beautiful. Thanks.[ I've got the LP somewhere and can't track it down.]
boots clarke
I saw Lena do this in London in the early 60s. thank you for reminding me of a great artist and a magical time
suzie106
Thank you so much for posting this. I had the single many years ago. It is an absolute joy! It shows how sexy subtlety can be.
Janice Lee
Lena Horn is a legend!
essexguy6
I was brought up with this song....my mum kept playing it...I was only about 5 at the time.....aah memories
Bella Newton
Thanks Trooper. I heartily agree Lena is one of the all time greats.
boots clarke
is it true that thestudio wanted L.H. to play Doolie Wilson's part in Casablanca ???? (by the way did you know that he couldn't play the piano)