Hattie McDaniel - wikipedia Hattie McDaniel Hattie McDaniel McDaniel in 1941 ( 1895 - 06 - 10 ) June 10, 1895 Wichita, Kansas, U.S. October 26, 1952 ( 1952 - 10 - 26 ) ( aged 57 ) Woodland Hills, Los Angeles, California, U.S. Resting place Angelus - Rosedale Cemetery Occupation Actress, singer - songwriter and comedian Years active 1920 -- 1952 Spouse ( s ) George Langford ( 1922 ) ( his death ) Howard Hickman ( 1911 ) ( his death ) James Lloyd Crawford ( 1941 -- 1945 ) ( divorced ) Larry Williams ( 1949 -- 1950 ) ( divorced ) Hattie McDaniel ( June 10, 1895 -- October 26, 1952 ) was an American stage actress, professional singer - songwriter, and comedian. She is best known for her role as `` Mammy '' in Gone with the Wind ( 1939 ), for which she won the Academy Award for Best Supporting Actress, the first Academy Award won by an African American entertainer. In addition to acting in many films, McDaniel was a radio performer and television star ; she was the first black woman to sing on radio in the United States. She appeared in over 300 films, although she received screen credits for only 80 or so. McDaniel has two stars on the Hollywood Walk of Fame in Hollywood : one at 6933 Hollywood Boulevard for her contributions to radio and one at 1719 Vine Street for acting in motion pictures. In 1975, she was inducted into the Black Filmmakers Hall of Fame and in 2006 became the first black Oscar winner honored with a US postage stamp. Contents 1 Background and early acting career 1.1 Gone with the Wind 1.2 1940 Academy Awards 2 Later career 3 Legal case : Victory on `` Sugar Hill '' 4 Controversy over roles 5 Community service 6 Marriages 7 Death 8 Whereabouts of the McDaniel Oscar 9 Legacy and recognition 10 Filmography 10.1 Features 10.2 Short subjects 11 Radio appearances 12 Discography 13 See also 14 References 15 External links Background and early acting career This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. ( June 2017 ) McDaniel was born to former slaves on June 10, 1895, in Wichita, Kansas. She was the youngest of 13 children. Her mother, Susan Holbert ( 1850 -- 1920 ), was a singer of religious music, and her father, Henry McDaniel ( 1845 -- 1922 ), fought in the Civil War with the 122nd United States Colored Troops. In 1900, the family moved to Colorado, living first in Fort Collins and then in Denver, where Hattie graduated from Denver East High School. Her brother, Sam McDaniel ( 1886 -- 1962 ), played the butler in the 1948 Three Stooges ' short film Heavenly Daze. Her sister Etta McDaniel was also an actress. McDaniel was a songwriter as well as a performer. She honed her songwriting skills while working with her brother 's minstrel show. After the death of her brother Otis in 1916, the troupe began to lose money, and Hattie did not get her next big break until 1920. From 1920 to 1925, she appeared with Professor George Morrison 's Melody Hounds, a black touring ensemble. In the mid-1920s, she embarked on a radio career, singing with the Melody Hounds on station KOA in Denver. From 1926 to 1929, she recorded many of her songs for Okeh Records and Paramount Records in Chicago. McDaniel recorded seven sessions : one in the summer of 1926 on the rare Kansas City label Meritt ; four sessions in Chicago for Okeh from late 1926 to late 1927 ( of the 10 sides recorded, only four were issued ), and two sessions in Chicago for Paramount in March 1929. After the stock market crashed in 1929, McDaniel could find work only as a washroom attendant and waitress at Club Madrid in Milwaukee. Despite the owner 's reluctance to let her perform, she was eventually allowed to take the stage and soon became a regular performer. In 1931, McDaniel moved to Los Angeles to join her brother and two sisters. When she could not get film work, she took jobs as a maid or cook. Sam was working on a KNX radio program, The Optimistic Do - Nut Hour, and was able to get his sister a spot. She performed on radio as `` Hi - Hat Hattie '', a bossy maid who often `` forgets her place ''. Her show became popular, but her salary was so low that she had to continue working as a maid. She made her first film appearance in The Golden West ( 1932 ), in which she played a maid. Her second appearance came in the highly successful Mae West film I 'm No Angel ( 1933 ), in which she played one of the black maids with whom West camped it up backstage. She received several other uncredited film roles in the early 1930s, often singing in choruses. In 1934, McDaniel joined the Screen Actors Guild. She began to attract attention and landed larger film roles, which began to win her screen credits. Fox Film Corporation put her under contract to appear in The Little Colonel ( 1935 ), with Shirley Temple, Bill `` Bojangles '' Robinson and Lionel Barrymore. Judge Priest ( 1934 ), directed by John Ford and starring Will Rogers, was the first film in which she played a major role. She had a leading part in the film and demonstrated her singing talent, including a duet with Rogers. McDaniel and Rogers became friends during filming. In 1935, McDaniel had prominent roles, as a slovenly maid in Alice Adams ( RKO Pictures ) ; a comic part as Jean Harlow 's maid and traveling companion in China Seas ( MGM ) ( McDaniels 's first film with Clark Gable ) ; and as the maid Isabella in Murder by Television, with Béla Lugosi. She appeared in the 1938 film Vivacious Lady, starring James Stewart and Ginger Rogers. McDaniel had a featured role as Queenie in the 1936 film Show Boat ( Universal Pictures ), starring Allan Jones and Irene Dunne, in which she sang a verse of Ca n't Help Lovin ' Dat Man with Dunne, Helen Morgan, Paul Robeson, and a black chorus. She and Robeson sang `` I Still Suits Me '', written for the film by Kern and Hammerstein. After Show Boat, she had major roles in MGM 's Saratoga ( 1937 ), starring Jean Harlow and Clark Gable ; The Shopworn Angel ( 1938 ), with Margaret Sullavan ; and The Mad Miss Manton ( 1938 ), starring Barbara Stanwyck and Henry Fonda. She had a minor role in the Carole Lombard -- Frederic March film Nothing Sacred ( 1937 ), in which she played the wife of a shoeshine man ( Troy Brown ) masquerading as a sultan. McDaniel was a friend of many of Hollywood 's most popular stars, including Joan Crawford, Tallulah Bankhead, Bette Davis, Shirley Temple, Henry Fonda, Ronald Reagan, Olivia de Havilland, and Clark Gable. She starred with de Havilland and Gable in Gone with the Wind ( 1939 ). Around this time, she was criticized by members of the black community for the roles she accepted and for pursuing roles aggressively rather than rocking the Hollywood boat. For example, in The Little Colonel ( 1935 ), she played one of the black servants longing to return to the Old South, but her portrayal of Malena in RKO Pictures 's Alice Adams angered white Southern audiences, because she stole several scenes from the film 's white star, Katharine Hepburn. McDaniel ultimately became best known for playing a sassy and opinionated maid. Gone with the Wind The competition to win the part of Mammy in Gone with the Wind was almost as fierce as that for Scarlett O'Hara. First Lady Eleanor Roosevelt wrote to film producer David O. Selznick to ask that her own maid, Elizabeth McDuffie, be given the part. McDaniel did not think she would be chosen because she had earned her reputation as a comic actress. One source claimed that Clark Gable recommended that the role be given to McDaniel ; in any case, she went to her audition dressed in an authentic maid 's uniform and won the part. Upon hearing of the planned film adaptation, the NAACP fought hard to require the film 's producer and director to delete racial epithets from the movie ( in particular the offensive slur `` nigger '' ) and to alter scenes that might be incendiary and that, in their view, were historically inaccurate. Of particular concern was a scene from the novel in which black men attack Scarlett O'Hara, after which the Ku Klux Klan, with its long history of provoking terror on black communities, is presented as a savior. Throughout the South, black men were being lynched based upon false allegations they had harmed white women. That attack scene was altered, and some offensive language was modified, but another epithet, `` darkie '', remained in the film, and the film 's message with respect to slavery remained essentially the same. Consistent with the book, the film 's screenplay also referred to poor whites as `` white trash '', and it ascribed these words equally to characters black and white. Loew 's Grand Theater on Peachtree Street in Atlanta, Georgia was selected by the studio as the site for the Friday, December 15, 1939 premiere of Gone with the Wind. Studio head David Selznick asked that McDaniel be permitted to attend, but MGM advised him not to, because of Georgia 's segregation laws. Clark Gable threatened to boycott the Atlanta premiere unless McDaniel were allowed to attend, but McDaniel convinced him to attend anyway. Most of Atlanta 's 300,000 citizens crowded the route of the seven - mile ( 11 km ) motorcade that carried the film 's other stars and executives from the airport to the Georgian Terrace Hotel, where they stayed. While Jim Crow laws kept McDaniel from the Atlanta premiere, she did attend the film 's Hollywood debut on December 28, 1939. Upon Selznick 's insistence, her picture was also featured prominently in the program. For her performance as the house slave who repeatedly scolds her owner 's daughter, Scarlett O'Hara ( Vivien Leigh ), and scoffs at Rhett Butler ( Clark Gable ), McDaniel won the 1939 Academy Award for Best Supporting Actress, the first black American to win an Oscar. She was the first black American to have been nominated. `` I loved Mammy, '' McDaniel said when speaking to the white press about the character. `` I think I understood her because my own grandmother worked on a plantation not unlike Tara. '' Her role in Gone with the Wind had alarmed some whites in the South ; there were complaints that in the film she had been too `` familiar '' with her white owners. At least one writer pointed out that McDaniel 's character did not significantly depart from Mammy 's persona in Margaret Mitchell 's novel, and that in both the film and the book, the much younger Scarlett speaks to Mammy in ways that would be deemed inappropriate for a Southern teenager of that era to speak to a much older white person, and that neither the book nor the film hints of the existence of Mammy 's own children ( dead or alive ), her own family ( dead or alive ), a real name, or her desires to have anything other than a life at Tara, serving on a slave plantation. Moreover, while Mammy scolds the younger Scarlett, she never crosses Mrs. O'Hara, the more senior white woman in the household. Some critics felt that McDaniel not only accepted the roles but also in her statements to the press acquiesced in Hollywood 's stereotypes, providing fuel for critics of those who were fighting for black civil rights. Later, when McDaniel tried to take her `` Mammy '' character on a road show, black audiences did not prove receptive. While many blacks were happy over McDaniel 's personal victory, they also viewed it as bittersweet. They believed Gone With the Wind celebrated the slave system and condemned the forces that destroyed it. For them, the unique accolade McDaniel had won suggested that only those who did not protest Hollywood 's systemic use of racial stereotypes could find work and success there. 1940 Academy Awards The Twelfth Academy Awards took place at the Coconut Grove Restaurant of the Ambassador Hotel in Los Angeles. It was preceded by a banquet in the same room. Louella Parsons, an American gossip columnist, wrote about Oscar night, February 29, 1940 : Hattie McDaniel earned that gold Oscar by her fine performance of ' Mammy ' in Gone with the Wind. If you had seen her face when she walked up to the platform and took the gold trophy, you would have had the choke in your voice that all of us had when Hattie, hair trimmed with gardenias, face alight, and dress up to the queen 's taste, accepted the honor in one of the finest speeches ever given on the Academy floor. Academy of Motion Picture Arts and Sciences, fellow members of the motion picture industry and honored guests : This is one of the happiest moments of my life, and I want to thank each one of you who had a part in selecting me for one of their awards, for your kindness. It has made me feel very, very humble ; and I shall always hold it as a beacon for anything that I may be able to do in the future. I sincerely hope I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel, and may I say thank you and God bless you. -- From McDaniel 's acceptance speech, 12th Annual Academy Awards, February 29, 1940 McDaniel received a plaque - style Oscar, approximately 5.5 inches ( 14 cm ) by 6 inches ( 15 cm ), the type awarded to all Best Supporting Actors and Actresses at that time. She and her escort were required to sit at a segregated table for two at the far wall of the room ; her white agent, William Meiklejohn, sat at the same table. The hotel had a strict no - blacks policy, but allowed McDaniel in as a favor. Gone with the Wind won eight Academy Awards. It was later named by the American Film Institute ( AFI ) as number four among the top 100 American films of all time in the 1998 ranking and number six in the 2007 ranking. Later career In the 1942 Warner Bros. film In This Our Life, starring Bette Davis and directed by John Huston, McDaniel once again played a domestic, but one who confronts racial issues when her son, a law student, is wrongly accused of manslaughter. The following year, McDaniel was in Warner Bros ' Thank Your Lucky Stars, with Humphrey Bogart and Bette Davis. In its review of the film, Time wrote that McDaniel was comic relief in an otherwise `` grim study, '' writing, `` Hattie McDaniel, whose bubbling, blaring good humor more than redeems the roaring bad taste of a Harlem number called Ice Cold Katie ''. McDaniel continued to play maids during the war years, in Warner Bros ' The Male Animal ( 1942 ) and United Artists ' Since You Went Away ( 1944 ), but her feistiness was toned down to reflect the era 's somber news. She also played the maid in Song of the South. McDaniel as Beulah 1951, the year before her death She made her last film appearances in Mickey ( 1948 ) and Family Honeymoon ( 1949 ), where that same year, she appeared on the live CBS television program The Ed Wynn Show. She remained active on radio and television in her final years, becoming the first black American to star in her own radio show with the comedy series Beulah. She also starred in the ABC television version of the show, replacing Ethel Waters after the first season. ( Waters had apparently expressed concerns over stereotypes in the role. ) Beulah was a hit, however, and earned McDaniel $2,000 a week. But the show was controversial. In 1951, the United States Army ceased broadcasting Beulah in Asia because troops complained that the show perpetuated negative stereotypes of black men as shiftless and lazy and interfered with the ability of black troops to perform their mission. After filming a handful of episodes, however, McDaniel learned she had breast cancer. By the spring of 1952, she was too ill to work and was replaced by Louise Beavers. Legal case : Victory on `` Sugar Hill '' McDaniel was the most famous of the black homeowners who helped to organize the black West Adams neighborhood residents who saved their homes. Loren Miller, an attorney and the owner and publisher of the California Eagle newspaper, represented the minority homeowners in their restrictive covenant case. In 1944, Miller won the case Fairchild v Rainers, a decision in favor of a black family in Pasadena, California, who had bought a nonrestricted lot but was sued by white neighbors anyway. Time magazine, in its issue of December 17, 1945, reported that : Spacious, well - kept West Adams Heights still had the complacent look of the days when most of Los Angeles ' aristocracy lived there... In 1938, Negroes, willing and able to pay $15,000 and up for Heights property, had begun moving into the old eclectic mansions. Many were movie folk -- Actresses Louise Beavers, Hattie McDaniel, Ethel Waters, etc. They improved their holdings, kept their well - defined ways, quickly won more than tolerance from most of their white neighbors. But some whites, refusing to be comforted, had referred to the original racial restriction covenant that came with the development of West Adams Heights back in 1902 which restricted `` Non-caucasians '' from owning property. For seven years they had tried to enforce it, but failed. Then they went to court... Superior Judge Thurmond Clarke decided to visit the disputed ground -- popularly known as `` Sugar Hill. ''... Next morning,... Judge Clarke threw the case out of court. His reason : `` It is time that members of the Negro race are accorded, without reservations or evasions, the full rights guaranteed them under the 14th Amendment to the Federal Constitution. Judges have been avoiding the real issue too long. '' Said Hattie McDaniel, of West Adams Heights : `` Words can not express my appreciation. '' McDaniel had purchased her white, two - story, seventeen - room house in 1942. The house included a large living room, dining room, drawing room, den, butler 's pantry, kitchen, service porch, library, four bedrooms and a basement. McDaniel had a yearly Hollywood party. Everyone knew that the king of Hollywood, Clark Gable, could always be found at McDaniel 's parties. Controversy over roles As her fame grew, McDaniel faced growing criticism from some members of the black community. Groups such as the NAACP complained that Hollywood stereotypes not only restricted blacks to servant roles but often portrayed blacks as lazy, dim - witted, satisfied with lowly positions, or violent. In addition to addressing the studios, they called upon actors, and especially leading black actors, to pressure studios to offer more substantive roles and at least not pander to stereotypes. They also argued that these portrayals were unfair as well as inaccurate and that, coupled with segregation and other forms of discrimination, such stereotypes were making it difficult for all blacks, not only actors, to overcome racism and succeed in the entertainment industry. Some attacked McDaniel for being an `` Uncle Tom '' -- a person willing to advance personally by perpetuating racial stereotypes or being an agreeable agent of offensive racial restrictions. McDaniel characterized these challenges as class - based biases against domestics, a claim that white columnists seemed to accept. And she reportedly said, `` Why should I complain about making $700 a week playing a maid ? If I did n't, I 'd be making $7 a week being one. '' McDaniel may also have been criticized because, unlike many other black entertainers, she was not associated with civil rights protests and was largely absent from efforts to establish a commercial base for independent black films. She did not join the Negro Actors Guild of America until 1947, late in her career. McDaniel hired one of the few white agents who would represent black actors in those days, William Meiklejohn, to advance her career. Evidence suggests her avoidance of political controversy was deliberate. When columnist Hedda Hopper sent her Richard Nixon placards and asked McDaniel to distribute them, McDaniel declined, replying she had long ago decided to stay out of politics. `` Beulah is everybody 's friend, '' she said. Since she was earning a living honestly, she added, she should not be criticized for accepting such work as was offered. Her critics, especially Walter White of the NAACP, claimed that she and other actors who agreed to portray stereotypes were not a neutral force but rather willing agents of black oppression. McDaniel and other black actresses and actors feared that their roles would evaporate if the NAACP and other Hollywood critics complained too loudly. She blamed these critics for hindering her career and sought the help of allies of doubtful reputation. After speaking with McDaniel, Hedda Hopper even claimed that McDaniel 's career troubles were not the result of racism but had been caused by McDaniel 's `` own people ''. Community Service McDaniel leading entertainers and hostesses to Minter Field for a performance and dance for World War II soldiers During World War II, she served as chairman of the Negro Division of the Hollywood Victory Committee, providing entertainment for soldiers stationed at military bases. ( The military was segregated, and black entertainers were not allowed to serve on white entertainment committees. ) She elicited the help of a friend, the actor Leigh Whipper, and other black entertainers for her committee. She made numerous personal appearances at military hospitals, threw parties, and performed at United Service Organizations ( USO ) shows and war bond rallies to raise funds to support the war on behalf of the Victory Committee. Bette Davis was the only white member of McDaniel 's acting troupe to perform for black regiments ; Lena Horne and Ethel Waters also participated. McDaniel was also a member of American Women 's Voluntary Services. She joined the actor Clarence Muse, one of the first black members of the Screen Actors Guild, in an NBC radio broadcast to raise funds for Red Cross relief programs for Americans that had been displaced by devastating floods, and she gained a reputation for generosity, lending money to friends and strangers alike. Marriages McDaniel married Howard Hickman at age 15 on January 19, 1911, in Denver, Colorado. He died in 1915. Her second husband, George Langford, died of a gunshot wound in January 1925, soon after she married him and while her career was on the rise. She married James Lloyd Crawford, a real estate salesman, on March 21, 1941, in Tucson, Arizona. According to Donald Bogle, in his book Bright Boulevards, Bold Dreams, McDaniel happily confided to gossip columnist Hedda Hopper in 1945 that she was pregnant. McDaniel began buying baby clothes and set up a nursery in her house. Her plans were shattered when she suffered a false pregnancy and fell into a depression. She never had any children. She divorced Crawford in 1945, after four and a half years of marriage. Crawford had been jealous of her career success, she said, and once threatened to kill her. She married Larry Williams, an interior decorator, on June 11, 1949, in Yuma, Arizona, but divorced him in 1950 after testifying that their five months together had been marred by `` arguing and fussing. '' McDaniel broke down in tears when she testified that her husband tried to provoke dissension in the cast of her radio show and otherwise interfered with her work. `` I have n't gotten over it yet, '' she said. `` I got so I could n't sleep. I could n't concentrate on my lines. '' Death Cenotaph at Hollywood Forever Cemetery Grave of McDaniel at Angelus Rosedale Cemetery In August, 1950, McDaniel suffered a heart ailment and entered Temple Hospital in semi-critical condition. She was released in October to recuperate at home, and she was cited by United Press on Jan. 3, 1951, as showing `` slight improvement in her recovery from a mild stroke. '' McDaniel died of breast cancer at age 57 on October 26, 1952, in the hospital on the grounds of the Motion Picture House in Woodland Hills, California. She was survived by her brother Sam McDaniel. Thousands of mourners turned out to celebrate her life and achievements. In her will, McDaniel wrote, `` I desire a white casket and a white shroud ; white gardenias in my hair and in my hands, together with a white gardenia blanket and a pillow of red roses. I also wish to be buried in the Hollywood Cemetery '' ; Hollywood Cemetery, on Santa Monica Boulevard in Hollywood, is the resting place of movie stars such as Douglas Fairbanks and Rudolph Valentino. Its owner at the time, Jules Roth, refused to allow her to be buried there, because, at the time of McDaniel 's death, the cemetery practiced racial segregation and would not accept the remains of black people for burial. Her second choice was Rosedale Cemetery ( now known as Angelus - Rosedale Cemetery ), where she lies today. In 1999, Tyler Cassidy, the new owner of the Hollywood Cemetery ( renamed the Hollywood Forever Cemetery ), offered to have McDaniel re-interred there. Her family did not wish to disturb her remains and declined the offer. Instead, Hollywood Forever Cemetery built a large cenotaph on the lawn overlooking its lake. It is one of Hollywood 's most popular tourist attractions. McDaniel 's last will and testament of December 1951 bequeathed her Oscar to Howard University, where she had been honored by the students with a luncheon after she had won her Oscar. At the time of her death, McDaniel would have had few options. Very few white institutions in that day preserved black history. Historically, black colleges had been where such artifacts were placed. Despite evidence McDaniel had earned an excellent income as an actress, her final estate was less than $10,000. The IRS claimed the estate owed more than $11,000 in taxes. In the end, the probate court ordered all of her property, including her Oscar, sold to pay off creditors. Years later, the Oscar turned up where McDaniel wanted it to be : Howard University, where, according to reports, it was displayed in a glass case in the university 's drama department. Whereabouts of the McDaniel Oscar The whereabouts of McDaniel 's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009. In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel `` for enduring all that she had to so that I would not have to ''. Her speech revived interest in the whereabouts of McDaniel 's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s. In November 2011, W.B. Carter, of the George Washington University Law School, published the results of her year - and - a-half - long investigation into the Oscar 's fate. Carter rejected claims that students had stolen the Oscar ( and thrown it in the Potomac River ) as wild speculation or fabrication that traded on long - perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University 's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record - keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1 / 2 '' x 6 '' plaque. Legacy and recognition Star on Hollywood Walk of Fame for contributions to radio at 6933 Hollywood Boulevard. McDaniel has two stars on the Hollywood Walk of Fame in Hollywood : one at 6933 Hollywood Boulevard for her contributions to radio and one at 1719 Vine Street for motion pictures. In 1975, she was inducted posthumously into the Black Filmmakers Hall of Fame. In 1994, the actress and singer Karla Burns launched her one - woman show Hi - Hat - Hattie ( written by Larry Parr ), about McDaniel 's life. Burns went on to perform the role in several other cities through 2002, including Off - Broadway and the Long Beach Playhouse Studio Theatre in California. In 2002, McDaniel 's legacy was celebrated in American Movie Classics 's ( AMC ) film Beyond Tara, The Extraordinary Life of Hattie McDaniel ( 2001 ), produced and directed by Madison D. Lacy and hosted by Whoopi Goldberg. This one - hour special depicted McDaniel 's struggles and triumphs in the presence of rampant racism and brutal adversity. The film won the 2001 -- 2002 Daytime Emmy Award, presented on May 17, 2002, for Outstanding Special Class Special. McDaniel was the 29th inductee in the Black Heritage Series by the United States Postal Service. Her 39 - cent stamp was released on January 29, 2006, featuring a 1941 photograph of McDaniel in the dress she wore to accept the Academy Award in 1940. The ceremony took place at the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, where the Hattie McDaniel collection includes photographs of McDaniel and other family members as well as scripts and other documents. In 2004 Rita Dove, the first African - American U.S. poet laureate, published her poem `` Hattie McDaniel Arrives at the Coconut Grove '' in The New Yorker and has since presented it frequently during her poetry readings as well as on YouTube. The American rapper Nas pays tribute to McDaniel in his song `` Blunt Ashes, '' from his eighth studio album, released December 15, 2006. `` Hattie McDaniel Day '' was celebrated on August 16, 2011, by the national GLBT radio station OutQ ( Sirius XM ) on the Frank Decaro Show. Kevin John Goff, McDaniel 's great - grandnephew, is currently developing a series of components on McDaniel 's life. The actress Mo'Nique paid homage to Miss McDaniel when accepting her Best Supporting Actress Academy Award for Precious. Filmography Features Love Bound ( 1932 ) Impatient Maiden ( 1932 ) as Injured Patient ( uncredited ) Are You Listening ? ( 1932 ) as Aunt Fatima - Singer ( uncredited ) The Washington Masquerade ( 1932 ) as Maid ( uncredited ) The Boiling Point ( 1932 ) as Caroline the Cook ( uncredited ) Crooner ( 1932 ) as Maid in Ladies ' Room ( uncredited ) Blonde Venus ( 1932 ) as Cora, Helen 's Maid in New Orleans ( uncredited ) The Golden West ( 1932 ) as Mammy Lou ( uncredited ) Hypnotized ( 1932 ) as Powder Room Attendant ( uncredited ) Hello, Sister ( 1933 ) as Woman in Apartment House ( uncredited ) I 'm No Angel ( 1933 ) as Tira 's Maid - Manicurist ( uncredited ) Goodbye Love ( 1933 ) as Edna the Maid ( uncredited ) Merry Wives of Reno ( 1934 ) as Bunny 's Maid ( uncredited ) City Park ( 1934 ) as Tessie - the Ransome Maid ( uncredited ) Operator 13 ( 1934 ) as Annie ( uncredited ) King Kelly of the U.S.A. ( 1934 ) as Black Narcissus Mop Buyer ( uncredited ) Judge Priest ( 1934 ) as Aunt Dilsey Imitation of Life ( 1934 ) as Woman at Funeral ( uncredited ) Flirtation ( 1934 ) as Minor Role ( uncredited ) Lost in the Stratosphere ( 1934 ) as Ida Johnson Babbitt ( 1934 ) as Rosalie, the Maid ( uncredited ) Little Men ( 1934 ) as Asia ( uncredited ) The Little Colonel ( 1935 ) as Mom Beck Transient Lady ( 1935 ) as Servant ( uncredited ) Traveling Saleslady ( 1935 ) as Martha Smith ( uncredited ) China Seas ( 1935 ) as Isabel McCarthy, Dolly 's Maid ( uncredited ) Alice Adams ( 1935 ) as Malena Burns Harmony Lane ( 1935 ) as Liza, the Cook ( uncredited ) Murder by Television ( 1935 ) as Isabella - the Cook Music Is Magic ( 1935 ) as Hattie Another Face ( 1935 ) as Nellie - Sheila 's Maid ( uncredited ) We 're Only Human ( 1935 ) as Molly, Martin 's Maid ( uncredited ) Next Time We Love ( 1936 ) as Hanna ( uncredited ) The First Baby ( 1936 ) as Dora The Singing Kid ( 1936 ) as Maid ( uncredited ) Gentle Julia ( 1936 ) as Kitty Silvers Show Boat ( 1936 ) as Queenie High Tension ( 1936 ) as Hattie The Bride Walks Out ( 1936 ) as Mamie - Carolyn 's Maid Postal Inspector ( 1936 ) as Deborah ( uncredited ) Star for a Night ( 1936 ) as Hattie Valiant Is the Word for Carrie ( 1936 ) as Ellen Belle Libeled Lady ( 1936 ) as Maid in Grand Plaza Hall ( uncredited ) Can This Be Dixie ? ( 1936 ) as Lizzie Reunion ( 1936 ) as Sadie Racing Lady ( 1937 ) as Abby Do n't Tell the Wife ( 1937 ) as Mamie, Nancy 's Maid ( uncredited ) The Crime Nobody Saw ( 1937 ) as Ambrosia The Wildcatter ( 1937 ) as Pearl ( uncredited ) Saratoga ( 1937 ) as Rosetta Stella Dallas ( 1937 ) as Maid Sky Racket ( 1937 ) as Jenny Over the Goal ( 1937 ) as Hannah Merry Go Round of 1938 ( 1937 ) as Maid ( uncredited ) Nothing Sacred ( 1937 ) as Mrs. Walker ( uncredited ) 45 Fathers ( 1937 ) as Beulah Quick Money ( 1937 ) as Hattie ( uncredited ) True Confession ( 1937 ) as Ella Mississippi Moods ( 1937 ) Battle of Broadway ( 1938 ) as Agatha Vivacious Lady ( 1938 ) as Hattie - Maid at Prom Dance ( uncredited ) The Shopworn Angel ( 1938 ) as Martha Carefree ( 1938 ) as Hattie ( uncredited ) The Mad Miss Manton ( 1938 ) as Hilda The Shining Hour ( 1938 ) as Belvedere Everybody 's Baby ( 1939 ) as Hattie Zenobia ( 1939 ) as Dehlia Gone with the Wind ( 1939 ) as Mammy - House Servant Maryland ( 1940 ) as Aunt Carrie The Great Lie ( 1941 ) as Violet Affectionately Yours ( 1941 ) as Cynthia They Died with Their Boots On ( 1941 ) as Callie The Male Animal ( 1942 ) as Cleota In This Our Life ( 1942 ) as Minerva Clay George Washington Slept Here ( 1942 ) as Hester, the Fullers ' Maid Johnny Come Lately ( 1943 ) as Aida Thank Your Lucky Stars ( 1943 ) as Gossip in ' Ice Cold Katie ' Number Since You Went Away ( 1944 ) as Fidelia Janie ( 1944 ) as April - Conway 's Maid Three Is a Family ( 1944 ) as Maid Hi, Beautiful ( 1944 ) as Millie Janie Gets Married ( 1946 ) as April Margie ( 1946 ) as Cynthia Never Say Goodbye ( 1946 ) as Cozie Song of the South ( 1946 ) as Aunt Tempy The Flame ( 1947 ) as Celia Mickey ( 1948 ) as Bertha Family Honeymoon ( 1948 ) as Phyllis The Big Wheel ( 1949 ) as Minnie Short subjects Mickey 's Rescue ( 1934 ) as Maid ( uncredited ) Fate 's Fathead ( 1934 ) as Mandy - the Maid ( uncredited ) The Chases of Pimple Street ( 1934 ) as Hattie, Gertrude 's Maid ( uncredited ) Anniversary Trouble ( 1935 ) as Mandy, the Maid Okay Toots ! ( 1935 ) as Hattie - the Maid ( uncredited ) Wig - Wag ( 1935 ) as Cook ( uncredited ) The Four Star Boarder ( 1935 ) as Maid ( uncredited ) Arbor Day ( 1936 ) as Buckwheat 's Mother Termites of 1938 ( 1938 ) Radio appearances Year Program Episode / source 1941 Gulf Screen Guild Theatre No Time for Comedy Station KOA, Denver, Melony Hounds ( 1926 ) Station KNX, Los Angeles, The Optimistic Do - Nut Hour ( 1931 ) CBS Network, The Beulah Show ( 1947 ). McDaniel was a semi-regular on the radio program Amos ' n ' Andy, first as Andy 's demanding landlady. In one episode they nearly marry. Andy was out for her money, aided and abetted by the Kingfish, who gives his wife 's diamond ring to present to McDaniel as an engagement ring. The scheme blows up in their faces when Sapphire decides to throw a party to celebrate. Andy desperately tries to conceal the ring from Sapphire. In frustration and growing anger, McDaniel says to Andy, `` Andy, sweetheart, darlin '. Is you gon na let go of my hand or does I have to pop you ? ? ! ! '' This episode aired on NBC in June 1944. She played a similar character, `` Sadie Simpson '', in several later episodes. Discography Hattie McDaniel recorded infrequently as a singer. In addition to the musical numbers over her long career in films, she recorded for Okeh Records, Paramount, and the small Kansas City, Missouri label Merrit. All of her known recordings ( some of which were never issued ) were recorded in the 1920s. Label Title Recorded Format Catalogue No. Merrit Records `` Brown - Skinned Baby Doll '' / `` Quittin ' My Man '' 06 / 26 Unissued Merrit 2202 Okeh Records `` I Wish I Had Somebody '' / '' Boo Hoo Blues '' 11 / 10 / 26 78 rpm Okeh 9899 / 9900 `` Wonderful Dream / `` Lonely Heart '' 11 / 17 / 26 Unissued Okeh W80845 / W80846 `` Sam Henry Blues '' / `` Poor Boy Blues '' 05 / 10 / 27 Unissued Okeh W80852 / W80853 `` I Thought I 'd Do It '' / `` Just One Sorrowing Heart '' 12 / 14 / 27 78 rpm Okeh W82061 / W82062 `` Sam Henry Blues '' / `` Destroyin Blues '' 12 / 14 / 27 Unissued Okeh W82063 / W82064 Paramount Records `` Dentist Chair Blues Part 1 '' / `` Dentist Chair Blues Part 2 '' ( with Papa Charlie Jackson ) 03 / ? ? / 29 78 rpm Paramount 12751 A / 12751 B `` That New Love Maker Of Mine '' / `` Any Kind Of Man Would Be Better Than You '' 03 / ? ? / 29 78 rpm Paramount 17290 See also List of African - American firsts List of black Academy Award winners and nominees List of stars on the Hollywood Walk of Fame African Americans portal Biography portal Film in the United States portal References Notes Jump up ^ `` Hattie McDaniel Biography ''. MTV. Retrieved 2010 - 04 - 21. Jump up ^ Jackson, Carlton. Hattie : The Life of Hattie McDaniel, Lanham, Maryland : Madison Books, 1990. ISBN 1 - 56833 - 004 - 9 Jump up ^ `` Hattie Mcdaniel ''. Blackclassicmovies.com. Retrieved 14 April 2013. Jump up ^ `` Hattie McDaniel, First African American to Win an Academy Award, Featured on New 39 - Cent Postage Stamp '' Archived 2008 - 07 - 07 at the Wayback Machine., press release, US Postal Service, January 25, 2006. Jump up ^ Jackson, Carlton. Hattie : The Life of Hattie McDaniel, p. 4. Jump up ^ Lyman, Darryl ( 2005 ). Great African American Women. Jonathan David. ISBN 0 - 8246 - 0459 - 8. Jump up ^ Laird, Ross ( 2004 ). Discography of Okeh Records, 1918 -- 1934. Praeger / Greenwood. pp. 392, 446. ISBN 0 - 313 - 31142 - 0. Jump up ^ Bogdanov, Vladimir ( 2003 ). All Music Guide to the Blues : The Definitive Guide to the Blues. Backbeat Books. p. 274. ISBN 0 - 87930 - 736 - 6. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. Harper Collins. p. 151. Jump up ^ Harris, Warren G. ( 2002 ). Clark Gable : A Biography. Harmony. p. 203. ISBN 0 - 307 - 23714 - 1. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. pp. 152 -- 171. ISBN 0 - 06 - 051490 - 6. Jump up ^ W. Burlette Carter. `` Finding the Oscar ''. p. 114, n. 40. Jump up ^ Harris, ibid., p. 211. Jump up ^ Time Magazine : `` Gone with the Wind Premiere '', Monday, December 25, 1939. Jump up ^ Bridges, Herb ( 1999 ). Gone with the Wind : The Three - day Premiere in Atlanta. Mercer University Press. ISBN 0 - 86554 - 672 - X. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. p. 172. ISBN 0 - 06 - 051490 - 6. Jump up ^ Lyman, Darryl ( 2005 ). Great African American Women. Jonathan David. p. 161. ISBN 0 - 8246 - 0459 - 8. Jump up ^ Lotchin, Roger W. ( 1999 ). The Way We Really Were : The Golden State in the Second Great War. University of Illinois Press. p. 36. ISBN 0 - 252 - 06819 - X. ^ Jump up to : W. Burlette Carter. `` Finding the Oscar '', p. 114, n. 40, p. 115, n. 47. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. pp. 188 -- 190. ISBN 0 - 06 - 051490 - 6. ^ Jump up to : W.B. Carter, `` Finding the Oscar '', pp. 199 -- 20, n. 40. Jump up ^ See and hear Hattie McDaniel acceptance speech at the end of this video. Jump up ^ Jackson, Carlton. Hattie : The Life of Hattie McDaniel, p. 52. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', p. 109, n. 08. Jump up ^ Abramovitch, Seth ( 19 February 2015 ). `` Oscar 's First Black Winner Accepted Her Honor in a Segregated ' No Blacks ' Hotel in L.A. '' The Hollywood Reporter. Retrieved 31 January 2017. Jump up ^ W. Burlette Carter. `` Finding the Oscar ''. pp. 115 -- 16, citing photograph of guests at 12th Academy of Motion Picture Arts & Sciences Awards banquet ( 1939 ), Margaret Herrick Library, Special Collections Jump up ^ `` American Film Institute ''. Connect.afi.com. Archived from the original on 2012 - 04 - 03. Retrieved 2010 - 04 - 21. Jump up ^ Time, `` Review : Thank Your Lucky Stars ( Warner ) '', Monday, October 4, 1943. Jump up ^ Smith, Milton A. ( 1951 ). `` Offensive to GIs, Banned : Army Drops ' Beulah ' Show Taken Off Air After Fighters Complain ''. Baltimore Afro - American. February 17, 1951, at 1. Jump up ^ Three of McDaniel 's episodes are readily available on videocassette and on the Internet. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. p. 328. Jump up ^ Time magazine, `` Victory on Sugar Hill '', Monday, December 17, 1945. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood, p. 212. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', pp. 122 -- 23. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', p. 117, n. 67, citing `` No Hope for the Negro in Films, Says Writer, As Long As Hattie McDaniel ' Toms ' '', Cleveland Gazette, February 17, 1945, p. 9. ^ Jump up to : CBSNEWS.com : First black Oscar winner honored with stamp, Thursday, January 26, 2006. Archived May 14, 2008, at the Wayback Machine. ^ Jump up to : W. Burlette Carter, `` Finding the Oscar '', p. 123. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. p. 129. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. pp. 226 -- 227. Jump up ^ Hedda Hopper, Screen and Stage : Own People Slow Hattie McDaniel Up, L.A. Times, December 14, 1947, at H3. Jump up ^ `` Hattie McDaniel and the Negro Division of the Hollywood Victory Committee ''. Cghs.dade.k12.fl.us. Archived from the original on 2010 - 12 - 09. Retrieved 2010 - 04 - 21. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. p. 210. Jump up ^ Spada, James ( 1993 ). More Than a Woman : An Intimate Biography of Bette Davis. Little, Brown. pp. 191 -- 192. ISBN 0 - 553 - 56868 - X. Jump up ^ `` Network and Local Radio Listings ''. The Sunday Sun. 4 Jan 1942. Retrieved 8 Jan 2011. Jump up ^ Watts, Jill ( 2005 ). Hattie McDaniel : Black Ambition, White Hollywood. p. 126. Jump up ^ Monday, December 31, 1945 ( 1945 - 12 - 31 ). `` Time Magazine article, Monday, December 31, 1945 ''. Time.com. Retrieved 2010 - 04 - 21. CS1 maint : Multiple names : authors list ( link ) Jump up ^ Time magazine article, Monday, December 18, 1950. Jump up ^ Long Beach Press - Telegram, Long Beach, California, Wednesday, December 6, 1950. Jump up ^ Associated Press, First black to win Oscar to get part of final wish, The Frederick Post, Frederick, Maryland, Monday, October 25, 1999. Jump up ^ Wilson, Scott. Resting Places : The Burial Sites of More Than 14,000 Famous Persons, 3d ed. : 2 ( Kindle Location 31275 ). McFarland & Company, Inc., Publishers. Kindle Edition. Jump up ^ `` The Memorial to Actress Hattie McDaniel at Hollywood Forever Memorial Park ''. Cemeteryguide.com. 1952 - 10 - 24. Retrieved 2010 - 04 - 21. Jump up ^ `` And Hattie McDaniel 's Oscar went to... ? 1940 prize, Howard U. play roles in mystery ''. Washington Post, May 26, 2010. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', pp. 136 -- 37. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', p. 129. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', p. 139. Jump up ^ `` Hattie McDaniel Oscar Plaque Missing ''. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', p. 109, n. 10, citing `` Howard University Ca n't Find McDaniel Oscar, '' Jet, May 4, 1992, p. 24. Jump up ^ W. Burlette Carter, `` Finding the Oscar '', p. 109, n. 10, citing `` Hattie McDaniel 's Academy Award Is Lost, '' Jet, April 13, 1998, p. 33. Jump up ^ Tom Gregory, `` Oscar Time for Hattie McDaniel '', The Huffington Post. Jump up ^ `` The Flower in Mo'Nique's Hair : Hattie McDaniel Tribute ''. jezebel. Retrieved 28 December 2012. Jump up ^ Freedom du Lac, J. ( May 26, 2010 ). `` And Hattie McDaniel 's Oscar Went to... ? 1940 Prize, Howard U. Play Roles in Mystery ''. Washington Post. Retrieved 28 December 2012. ^ Jump up to : Burlette Carter, W. ( 2011 ). `` Finding the Oscar ''. Howard Law Journal. pp. 107 -- 171. Jump up ^ `` Gone with the Wind : Hollywood Walk of Fame Stars ''. Destinationhollywood.com. Retrieved 2010 - 04 - 21. Jump up ^ Ferguson, Carroy U. ( 2004 ). Transitions in Consciousness from an African American Perspective. Lanham, Maryland : University Press of America. p. 243. ISBN 0 - 7618 - 2700 - 5. Jump up ^ `` Karla Burns : Broadway to Vegas, May 30, 2004 ''. Broadwaytovegas.com. Retrieved 2010 - 04 - 21. Jump up ^ `` 2001 -- 2002 Daytime Emmy Awards ''. Infoplease.com. 2002 - 05 - 17. Retrieved 2010 - 04 - 21. Jump up ^ `` Hattie McDaniel, First African American to Win an Academy Award, Featured on New 39 - cent Postage Stamp '' ( Press release ). United States Postal Service. 2006 - 01 - 25. Archived from the original on 2008 - 07 - 07. Retrieved 2008 - 07 - 09. Hattie McDaniel, movie actress, singer, radio and television personality, and the first African American to win an Academy Award today became the 29th honoree in the U.S. Postal Service 's long - running Black Heritage commemorative stamp series Jump up ^ Gickerr, William J. ( ed. ) ( 2006 ). `` Hattie McDaniel 39 ¢ ''. USA Philatelic ( print ). 11 ( 3 ) : 12. CS1 maint : Extra text : authors list ( link ) Jump up ^ `` Hattie McDaniel Arrives at the Coconut Grove ''. Newyorker.com. Retrieved 10 July 2018. Jump up ^ forsicht ( 26 February 2012 ). `` Hattie McDaniel Arrives at the Coconut Grove ''. YouTube. Retrieved 10 July 2018. Jump up ^ `` Abel, Walter ''. radioGOLDINdex. Retrieved 26 May 2015. Bibliography The Life and Struggles of Hattie McDaniel ( author Jill Watts audio interview ), hear the voice of Hattie McDaniel Carter, W.B. ( 2011 ). `` Finding the Oscar ''. Howard Law Journal. 55 ( 1 ) : 107. SSRN 1980721. Hopper, Hedda. `` Hattie Hates Nobody ''. Chicago Sunday Tribune, 1947. Jackson, Carlton. Hattie : The Life of Hattie McDaniel. Lanham, MD : Madison Books, 1990. ISBN 1 - 56833 - 004 - 9 Mitchell, Lisa. `` More Than a Mammy ''. Hollywood Studio Magazine, April 1979. Salamon, Julie. `` The Courage to Rise Above Mammyness ''. New York Times, August 6, 2001. Watts, Jill. Hattie McDaniel : Black Ambition, White Hollywood. New York, NY : HarperCollins, 2005. ISBN 0 - 06 - 051490 - 6 Young, Al. `` I 'd Rather Play a Maid Than Be One ''. New York Times, October 15, 1989. Zeigler, Ronny. `` Hattie McDaniel : ' ( I 'd )... rather play a maid. ' '' N.Y. Amsterdam News, April 28, 1979. Access Newspaper Archive -- search for `` Hattie McDaniel '' External links Hattie McDaniel on IMDb Hattie McDaniel at Find a Grave Academy Award for Best Supporting Actress 1936 -- 1950 Gale Sondergaard ( 1936 ) Alice Brady ( 1937 ) Fay Bainter ( 1938 ) Hattie McDaniel ( 1939 ) Jane Darwell ( 1940 ) Mary Astor ( 1941 ) Teresa Wright ( 1942 ) Katina Paxinou ( 1943 ) Ethel Barrymore ( 1944 ) Anne Revere ( 1945 ) Anne Baxter ( 1946 ) Celeste Holm ( 1947 ) Claire Trevor ( 1948 ) Mercedes McCambridge ( 1949 ) Josephine Hull ( 1950 ) 1951 -- 1975 Kim Hunter ( 1951 ) Gloria Grahame ( 1952 ) Donna Reed ( 1953 ) Eva Marie Saint ( 1954 ) Jo Van Fleet ( 1955 ) Dorothy Malone ( 1956 ) Miyoshi Umeki ( 1957 ) Wendy Hiller ( 1958 ) Shelley Winters ( 1959 ) Shirley Jones ( 1960 ) Rita Moreno ( 1961 ) Patty Duke ( 1962 ) Margaret Rutherford ( 1963 ) Lila Kedrova ( 1964 ) Shelley Winters ( 1965 ) Sandy Dennis ( 1966 ) Estelle Parsons ( 1967 ) Ruth Gordon ( 1968 ) Goldie Hawn ( 1969 ) Helen Hayes ( 1970 ) Cloris Leachman ( 1971 ) Eileen Heckart ( 1972 ) Tatum O'Neal ( 1973 ) Ingrid Bergman ( 1974 ) Lee Grant ( 1975 ) 1976 -- 2000 Beatrice Straight ( 1976 ) Vanessa Redgrave ( 1977 ) Maggie Smith ( 1978 ) Meryl Streep ( 1979 ) Mary Steenburgen ( 1980 ) Maureen Stapleton ( 1981 ) Jessica Lange ( 1982 ) Linda Hunt ( 1983 ) Peggy Ashcroft ( 1984 ) Anjelica Huston ( 1985 ) Dianne Wiest ( 1986 ) Olympia Dukakis ( 1987 ) Geena Davis ( 1988 ) Brenda Fricker ( 1989 ) Whoopi Goldberg ( 1990 ) Mercedes Ruehl ( 1991 ) Marisa Tomei ( 1992 ) Anna Paquin ( 1993 ) Dianne Wiest ( 1994 ) Mira Sorvino ( 1995 ) Juliette Binoche ( 1996 ) Kim Basinger ( 1997 ) Judi Dench ( 1998 ) Angelina Jolie ( 1999 ) Marcia Gay Harden ( 2000 ) 2001 -- present Jennifer Connelly ( 2001 ) Catherine Zeta - Jones ( 2002 ) Renée Zellweger ( 2003 ) Cate Blanchett ( 2004 ) Rachel Weisz ( 2005 ) Jennifer Hudson ( 2006 ) Tilda Swinton ( 2007 ) Penélope Cruz ( 2008 ) Mo'Nique ( 2009 ) Melissa Leo ( 2010 ) Octavia Spencer ( 2011 ) Anne Hathaway ( 2012 ) Lupita Nyong'o ( 2013 ) Patricia Arquette ( 2014 ) Alicia Vikander ( 2015 ) Viola Davis ( 2016 ) Allison Janney ( 2017 ) Colorado Women 's Hall of Fame 1980 -- 1989 1985 Lena Archuleta Isabella Bird Helen Bonfils Molly Brown Chipeta Mary Coyle Chase Mamie Eisenhower Justina Ford Emily Griffith Helen Hunt Jackson Dottie Lamm Martha Maxwell Golda Meir Owl Woman Mary Rippon Florence Sabin Hazel Schmoll Pat Schroeder May Bonfils Stanton Anne Steinbeck Ruth Stockton Baby Doe Tabor Marie Wormington - Volk Jean Yancey 1986 Antonia Brico Helen White Peterson Josephine Roche Eudochia Bell Smith Miriam Goldberg Frances Wisebart Jacobs Mary Florence Lathrop Lenore E. Walker Caroline Churchill Oleta Crain LaRae Orullian Elizabeth Hickok Robbins Stone Clara Brown Edwina Hume Fallis Sumiko Hennessy Cleo Parker Robinson 1990 -- 1999 Caroline Bancroft Hendrika B. Cantwell Sarah Platt - Decker Jane Silverstein Ries 1991 Helen Marie Black Genevieve Fiore Augusta Tabor Wilma Webb Marilyn Van Derbur Joan Birkland Elise M. Boulding Dana Hudkins Crawford Margaret L. Curry Terri H. Finkel Elnora M. Gilfoyle Mary Hauck Elitch Long Frances McConnell - Mills Rachel Bassette Noel Mildred Pitts Walter Susan Anderson Eppie Archuleta Ceal Barry Juana Bourdas Swanee Hunt Reynelda Muse Mary Luke Tobin 2000 -- 2009 2000 Polly Baca Joy Burns Josie Heath J. Virginia Lincoln Pauline Short Robinson Martha M. Urioste Zita Weinshienk Linda Alvarado 2002 Gudy Gaskill Jo Ann Cram Joselyn Mary Miller Sue Miller Gloria Tanner Emily Howell Warner Virginia Fraser Anna Lee Aldred Louie Croft Boyd Merle Chambers Patricia A. Gabow Carlotta LaNier Antoinette Perry Charlotte Perry and Portia Mansfield Arie Parks Taylor 2006 Stephanie Allen Judy Collins Marion Downs Clarissa Pinkola Estés Arlene Hirschfeld Jean Jones Fannie Lorber Susan Solomon Caroline Spencer Vivien Spitz 2008 Sue Anschutz - Rodgers Alicia Alicia Cuarón Evie Dennis Jean Dubofsky Katherine Keating Mary Lou Makepeace Lily Nie Anna Petteys Eliza Routt Rhea Woltman Mildred Didrikson Zaharias 2010 -- 2019 Madeleine Albright Elinor Greenberg Maria Guajardo Philippa Marrack Ramona Martinez Hattie McDaniel Susan O'Brien Bartley Marie Scott Alice Bemis Taylor Jill S. Tietjen 2012 Kristi S. Anseth Janet Bonnema Fannie Mae Duncan Loretta C. Ford Erinea Garcia Gallegos Laura Gilpin Temple Grandin Ding - Wen Hsu Mary Ann Kerwin Mary J. Mullarkey 2014 Julia Archibald Holmes Elizabeth Wright Ingraham Christine Arguello Lauren Young Casteel Penny Hamilton Kristina Johnson Diana Wall Joanne M. Maguire Morley Cowles Ballantine Helen Ring Robinson 2015 Anne Evans Minnie Harding Laura Ann Hershey Elizabeth Pellet 2016 Anna Jo Haynes Arlene Vigil Kramer Lydia Peña Sandra I. Rothenberg Shari Shink Judith B. Wagner GND : 118909282 ISNI : 0000 0000 2497 1304 LCCN : n85151822 MusicBrainz : 037b0471 - 652d - 4dc2 - a464 - a5051d5e1e29 SNAC : w6sn2kh1 SUDOC : 066950988 VIAF : 45100688 Retrieved from `` https://en.wikipedia.org/w/index.php?title=Hattie_McDaniel&oldid=849654489 '' Categories : 1895 births 1952 deaths African - American actresses American film actresses American television actresses American radio actresses African - American radio personalities American women comedians African - American comedians American comedians African - American female singer - songwriters African - American singer - songwriters American female singer - songwriters American blues singer - songwriters Best Supporting Actress Academy Award winners Burials at Angelus - Rosedale Cemetery, Los Angeles Deaths from cancer in California Deaths from breast cancer Okeh Records artists Actresses from Kansas Actors from Wichita, Kansas Musicians from Wichita, Kansas People from South Los Angeles 20th - century American actresses 20th - century American singers Songwriters from Kansas Singers from Kansas People from West Adams, Los Angeles RKO Pictures contract players Paramount Pictures contract players 20th - century women musicians Hidden categories : Webarchive template wayback links CS1 maint : Multiple names : authors list All articles with dead external links Articles with dead external links from October 2010 CS1 maint : Extra text : authors list Articles with hCards Articles needing additional references from June 2017 All articles needing additional references Find a Grave template with ID same as Wikidata Wikipedia articles with GND identifiers Wikipedia articles with ISNI identifiers Wikipedia articles with LCCN identifiers Wikipedia articles with MusicBrainz identifiers Wikipedia articles with SNAC - ID identifiers Wikipedia articles with SUDOC identifiers Wikipedia articles with VIAF identifiers Talk Contents About Wikipedia Aragonés Asturianu تۆرکجه Беларуская Català Dansk Deutsch Ελληνικά Español Euskara فارسی Français Galego 한국어 Hrvatski Italiano עברית Latina Nederlands 日本 語 Norsk Polski Português Română Runa Simi Русский Simple English Slovenščina Српски / srpski Srpskohrvatski / српскохрватски Suomi Svenska ไทย Türkçe Українська Yorùbá 28 more Edit links This page was last edited on 10 July 2018, at 13 : 00 ( UTC ). 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Question: who is mammy in gone with the wind
Answer: Hattie McDaniel