Lola Falana was a force of nature, transforming every stage she touched into a showcase of glamour, grit, and brilliance. Born Loletha Elayne Falana in Camden, New Jersey, in 1942, she rose from modest beginnings to become one of the most electrifying performers of the 20th century. Her career spanned continents and mediums, but her influence is especially felt in the worlds of burlesque, cabaret, and live performance.
Early Spark and Relentless Drive
Falana’s relationship with performance began almost as soon as she could walk. Dancing by age three and singing in church choirs by five, she was a child drawn to rhythm, spotlight, and expression. Her family moved to Philadelphia in the early 1950s, and by her teens (rumored as early as 14 years old), she was performing in nightclubs—escorted by her mother. Lola met Bill Cosby at a club in Philadelphia—Cosby was a struggling comic in college and Lola was a teen, dancing in the club.
“I wasn’t the best ballet or tap dancer, I just needed to make money.”
At sixteen, Falana caught the attention of blues legend Dinah Washington, who invited her to open a show. That moment wasn’t just a lucky break—it was the ignition of a career built on charisma, discipline, and a refusal to be boxed in. She left high school and moved to New York City at 17, determined to make it in show business on her own terms.
Broadway, Film, and International Stardom
In 1964, Falana landed a role in the Broadway musical Golden Boy, starring Sammy Davis Jr. Her dancing was magnetic, her presence undeniable. The show launched her into the public eye, and her professional and personal relationship with Davis helped open doors—but Falana was never content to be someone else’s protégé.
International Star
Lola Falana earned the nickname “Black Venus” during her rise to international fame in the late 1960s, particularly through her work in Italian cinema and television. The title wasn’t just a nod to her beauty—it was a recognition of her magnetic presence, sensuality, and the way she captivated audiences across cultures.
In Italy, Falana starred in several films, including Lola Colt, a spaghetti western that positioned her as a glamorous and commanding figure in a genre dominated by white male leads. She also appeared on popular Italian variety shows, performing alongside stars like Mina, and quickly became a household name. Her fluency in Italian and ability to seamlessly blend music, dance, and acting made her a standout in European entertainment.
The nickname “Black Venus” evoked classical ideals of beauty and allure, while also acknowledging Falana’s groundbreaking role as a Black woman thriving in international media. It placed her in a lineage of performers like Josephine Baker, who had similarly been celebrated abroad for their elegance, artistry, and defiance of racial boundaries.
In essence, “Black Venus” was more than a moniker—it was a symbol of Falana’s power to transcend expectations, redefine glamour, and command attention on her own terms.
“If I didn’t break away,” she told TV Guide, “I would always be known as the little dancer with Sammy Davis Jr. I wanted to be known as something more.”
In 1969, Lola Falana chose to step away from her close professional ties with Sammy Davis Jr., seeking to define her career independently—though the two maintained a friendship. A year earlier, Davis’s marriage to May Britt ended after he publicly acknowledged an affair with Falana.
By 1970, Falana had made her debut in American cinema with The Liberation of L.B. Jones, earning a Golden Globe nomination for New Star of the Year – Actress, marking a major milestone in her ascent beyond the shadow of mentorship.
Tigress & Playboy
Back in the U.S., she broke barriers as the first Black woman to model for Fabergé’s Tigress perfume. This was also the first time a Black woman modeled for a major perfume brand that was not just marketed for Black woman. She was at the time, called The Black Tigress.
Lola also appeared in Playboy in 1970—not as a passive pin-up for the male gaze, but as a woman in full control of her image.
The 1970s
By the 1970s, Falana had become a household name. She appeared on The Muppet Show, The Flip Wilson Show, The Tonight Show, and her own variety specials. In 1972, Lola was the first supporting player hired by Bill Cosby for his variety hour, The New Bill Cosby Show, which made its debut on CBS.
The Lola Falana Show
In 1976, Lola Falana burst onto network television with a series of four dazzling specials that highlighted her versatility as a singer, dancer, and comedic performer. The Lola Falana Show positioned her as a leading lady of variety entertainment, pairing her magnetic stage presence with a lineup of high-profile guests including Muhammad Ali, Sonny and Cher, Billy Dee Williams, Redd Foxx, Dick Van Dyke, and Bill Cosby. Each hour-long episode served up powerful musical performances of enduring hits like “Lady Marmalade,” “Ain’t No Mountain High Enough,” “I Got You Babe,” and “Stop in the Name of Love,” reinforcing her status as a dynamic entertainer at the peak of her career.
The “First Lady of Las Vegas”
Las Vegas where she truly reigned. Performing at The Sands, The Riviera, and the MGM Grand, she became the highest-paid female entertainer in Vegas history, earning $100,000 per week at The Aladdin ($494,725 in today’s buying power). Her show ran 20 weeks a year by the late 1970s.
Her shows were more than entertainment—they were declarations of power. Sequins, feathers, live orchestras, and choreography that rivaled Broadway productions made her performances legendary. She was dubbed the “First Lady of Las Vegas,” and her name became synonymous with spectacle, elegance, and command. Her stage presence was a masterclass in charisma, blending sultry vocals, sharp wit, and razor-sharp timing. She was a woman who knew exactly what she was doing, and she made sure the audience did too.
Lola Falana frequently performed on The Joey Bishop Show and The Hollywood Palace. By 1975 her album, “There’s A Man Out There Somewhere,” was #67 on the Billboard R&B charts! She even starred in her own variety show, Lola!, in 1976.
Doctor Jazz (1975) on Broadway
Lola Falana performance photographs from “Doctor Jazz” on NY Broadway. These photos are courtesy of the New York Public Library. Lola was nominated for a Tony Award for her lead role in “Doctor Jazz” and she won the 1975 Theater World Award.
Lady Cocoa (1975)
Lady Cocoa (1975), also known as Pop Goes the Weasel, was Lola’s first starring role in a feature film—and it’s a fascinating entry in the blaxploitation era. Directed by Matt Cimber, the movie casts Falana as Cocoa, a stylish and sharp-witted woman temporarily released from jail under police protection so she can testify against her mobster ex-boyfriend.
The film unfolds over a tense 24-hour period, with Cocoa navigating threats, flirtations, and betrayals while under the watch of two federal agents. Falana’s performance is the film’s anchor—she’s confident, flirtatious, and always in control, even when the plot veers into chaotic territory. Her character isn’t just a witness; she’s a woman asserting her agency in a world that’s trying to box her in.
Stylistically, Lady Cocoa blends crime drama with flashes of glamour and humor. Falana’s wardrobe alone is a masterclass in 1970s fashion—fur coats, bold prints, and statement accessories that reinforce her star power. The film also features NFL legend “Mean” Joe Greene in a silent role, adding to its cult appeal.
While critics at the time had mixed reactions—some calling it slick but predictable, others praising Falana’s charisma—the movie remains a time capsule of her transition from stage and television to cinematic leading lady.
Lola and the New York Mets
While performing at Bally’s Hotel and Casino in Atlantic City in 1983, Lola tried her luck at a baccarat table—and ended up winning a minority ownership stake in the New York Mets. She held onto her share for five years before selling it in 1988 to team executive Frank Cashen for $14 million, marking one of the most unexpected—and lucrative—side notes in her storied career.
Influence on Burlesque and Cabaret
Though Falana didn’t perform traditional striptease, her work deeply influenced the aesthetics and ethos of modern burlesque and cabaret. She embodied the core values of these art forms: sensual storytelling, visual spectacle, and radical presence.
Her performances were narrative-driven, often blending song, dance, and persona to evoke desire, heartbreak, or triumph. Her costuming—fringe, rhinestones, dramatic silhouettes—set a standard for glamour that burlesque artists continue to emulate. And her visibility as a glamorous, powerful Black woman in mainstream entertainment was itself a form of resistance.
Falana’s legacy lives on in performers who fuse glamour with grit, who use the stage to celebrate bodies, identities, and histories that mainstream entertainment often overlooks. Her influence can be felt in the work of neo-burlesque artists, drag performers, and cabaret performers who center joy, sensuality, and defiance in their acts. Lola was burlesque by another name—commanding, seductive, and always in control.
Illness, Faith, and Reinvention
In 1987, Lola Falana was diagnosed with multiple sclerosis, a life-altering moment that came soon after the cancellation of her final television project, the soap opera The Capital. The illness had a devastating impact—paralyzing the left side of her body and impairing her speech and hearing. After roughly eighteen months of recovery and rehabilitation, Falana regained enough strength to return to the stage in Las Vegas, where she performed for a few more years.
In the early 1990s, she chose to step away from entertainment entirely. She converted to Roman Catholicism and founded the Lambs of God Ministry, dedicating her life to helping orphans in Sub-Saharan Africa. In 1995 she recorded the pro-life song “Don’t Cry, Mary.”
Her later years have been marked by quiet devotion, philanthropy, and resilience—a different kind of brilliance, rooted in service and reflection. Her last known performance was in 1997 at the Wayne Newton’s theater in Branson, Missouri. (Alchetron)
Cultural Legacy
Lola Falana’s name remains shorthand for glamour and Black excellence. She’s referenced in Family Matters, Barbershop 2, Marvel Comics, and countless pop culture moments.
Her signature song, “Whatever Lola Wants, Lola Gets,” became an anthem of feminine power and allure. Lola Falana’s signature song was Whatever Lola Wants, Lola Gets. Originally from the 1955 musical Damn Yankees, the song became closely associated with Falana during her Las Vegas reign, where she performed it as part of her high-glamour stage shows. The lyrics—playful, seductive, and assertive—mirrored her onstage persona and helped cement her image as a commanding, charismatic entertainer.
She graced the covers of Jet, Ebony, and Sepia, and her image helped redefine beauty standards in American media. She didn’t just represent a new kind of star—she became a symbol of what was possible.
Final Reflections
Lola Falana’s story is one of transformation—of turning talent into legacy, adversity into strength, and performance into cultural power. For burlesque and cabaret artists today, she offers a blueprint: be bold, be brilliant, and never apologize for taking up space. Her legacy is not just in the spotlight she commanded, but in the doors she opened and the stages she made possible.
Sources
- https://biographyhost.com/p/lola-falana.html
- https://en.wikipedia.org/wiki/Lola_Falana
- https://pipeandpjspictorials.wordpress.com/2020/10/26/lola-june-1970/
- https://yesterdaysperfume.typepad.com/yesterdays_perfume/2010/10/tigress-by-faberg%C3%A9-1938.html
- https://www.elsewhere.co.nz/weneedtotalkabout/7719/we-need-to-talk-about-lola-falana-her-name-was-lola-she-was-a-showgirl/
- https://alchetron.com/Lola-Falana
- https://watch.iwoman.tv/village/black-history-month-women-in-tv-film-lola-falana/
- https://muppet.fandom.com/wiki/Lola_Falana
- https://www.imdb.com/title/tt0073259/
Images
- “Doctor Jazz” Photographs; https://digitalcollections.nypl.org/search/index?q=lola%20falana
Videos
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