Another one of my data entry divas has passed. First Yma Sumac, now Eartha Kitt. When I first moved to New York, I had a series of temp jobs. While helping evil law firms beat off class action lawsuits from cancer victims, all of us night-shift coders would alternate between snarky observations about our work and (when the shift supervisors started their surveillance) listening to music over headphones. Occasionally we'd exchange CDs. I learned about Miss Kitt (and Yma Sumac) from a middle-aged gay guy who spent his days trying to become an actor.People who know her only as Catwoman on Batman should check out some of her older videos on YouTube. Forget "Santa Baby"—try "I Want to Be Evil." Eartha had a jet-set sophistication before the jet set really existed. The Times obituary says she spoke four languages and sang in seven, but that may be underestimating it. On one album (Live at the Plaza) she sings in six—English, Spanish, French, Japanese, Turkish, and Tagalog—so perhaps there were several more. She presented herself not only as a world traveler but as an associate of world leaders, oil magnates, and the international demimonde (she was too good for the likes of mere Hollywood celebrities). She was vividly sexual but never allowed herself to be exploited—she was always firmly in control.
Granted, this was all part of her shtick, but I think she was as good as anybody at playing to a weird 1950s desire to be dominated by symbols of material goods, sexuality, and a female power that had nothing to do with domesticity (and I don't think this desire was exclusive to men). Eartha Kitt let her fans imagine a world where dissolute rich men behaved badly but misogyny was banished at her own personal request. Of course, she was the only woman allowed in this world, so she wasn't necessarily advancing the cause of women's equality. But how could you not love a song like "Monotonous," which she introduced in 1952:
T.S. Elliott writes books for me
King Farouk’s on tenterhooks for me
Sherman Billingsley even cooks for me
Monotonous, monotonous
"Monotonous" is full of period name-dropping ("Ike likes me"), so you're probably not familiar with the name Sherman Billingsley. Billingsley was the proprietor of the Stork Club, a super deluxe center of swank in Manhattan's midcentury clubland. It's even less likely that you know that the NAACP instituted a picket of the Stork Club in 1951 after Billingsley et al. refused service to Josephine Baker (you can read all about it in Martha Biondi's book To Stand and Fight). Well, that was in 1951. Anyone see the irony here? Eartha Kitt was a black woman who bragged (or yawned) that Mr. Billingsley cooked for her. No one who heard her sing "Monotonous" in 1952 would have missed the pointed reference.
Another Eartha Kitt song I love is "Angelitos Negros." (It was recorded by Roberta Flack on her first album, and more recently by Cat Power.) The lyrics are by the Venezuelan poet Andres Eloy Blanco:
Pintor nacido en mi tierra,
con el pincel extranjero,
pintor que sigues el rumbo,
de tantos pintores viejos.
Aunque la virgen sea blanca,
píntale angelitos negros,
que también se van al cielo,
todos los negritos buenos.
Pintor si pintas con amor,
¿por qué desprecias su color?,
si sabes que en el cielo,
también los quiere Dios.
Pintor de santos alcoba,
si tienes alma en el cuerpo,
por qué al pintar en tus cuadros,
te olvidaste de los negros.
I'm basing my knowledge of this song on the Spanish I learned in an intensive class that I thought I needed to take in order to get into grad school, so I'm probably way off. Spanish-speaking CQ readers are invited to correct me. But the song is addressed to a painter of Christian iconography in churches and asks why, if there are "negros" (which I translate as Diasporic peoples, knowing that Latino racial designations are really complicated) in heaven, angels must be painted white. If there's a soul in your body, the singer reproaches the artist, why do you forget to paint los negros? The political import of the song is obvious. And again, Eartha Kitt sang this at the same time as African Americans North and South were challenging the color line. (I also like the funked-up English-language version she does on Sentimental Eartha, "Paint Me Black Angels"—much more overt and angry.)
Like I said, I think Eartha Kitt took white fantasies of power and glamour and forced them to accommodate a black woman. Of course, she did this in part by exoticizing and sexualizing herself, and you might also say that giving white people an integrated fantasy allowed them to ignore a segregated reality. On the other hand, I think she was cool and savvy at a time when those qualities were almost prerequisites for survival as an adult. Her presence was calculated and exacting; I can't think of another performer, black or white, who simultaneously embodied cold war rationality and decadence. And, at all times, she knew exactly what she was doing.











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