Eartha Mae Kitt (born Eartha Mae Keith on January 17, 1927 – died December 25, 2008) was one of the most distinctive, versatile, and enduring entertainers of the twentieth century — a singer, actress, dancer, cabaret star, and activist whose life story spans rural poverty, international fame, scandal, reinvention, and legacy.
In this article for Empire Magazine, we explore her beginnings, rise to fame, most iconic works, activism, and the indelible mark she left on culture.
Early Life: From the Cotton Fields to Harlem
Eartha Kitt was born in the small town of North, South Carolina, on January 17, 1927. Her mother was Anna Mae Keith, of African American and Cherokee heritage; her father’s identity was never clearly established. Kitt’s early years were marked by hardship and rejection — she was of mixed race in the segregated South, a background that isolated her from both Black and white communities.
At around age eight, she was sent to live with her aunt in Harlem, New York. The move from the fields of South Carolina to the energy of Harlem transformed her life. There she attended school and began to study dance and performance, eventually joining the prestigious Katherine Dunham Company. Touring internationally with the troupe exposed her to global stages and cultures, sparking her lifelong fascination with Europe and cosmopolitan sophistication.
The Cabaret Star & Breakthrough in Europe
After leaving the Dunham troupe, Kitt remained in Europe, particularly Paris, where her career as a cabaret singer flourished. She quickly became known for her multilingual repertoire, singing in French, German, and English, and for her unique blend of charm, humor, and sensuality.
Her breakthrough came when Orson Welles cast her in his production of Dr. Faustus, calling her “the most exciting woman in the world.” The remark followed her throughout her life and helped shape her image: glamorous, daring, feline-like, and captivating.
By the early 1950s, Kitt’s recordings of “C’est Si Bon” and “Santa Baby” propelled her into international stardom. Her sultry, purring vocal delivery, theatrical phrasing, and witty sensuality became her trademark. In nightclubs across Europe and America, she was adored for her artistry and sophistication — a performer who transcended language barriers and captivated audiences wherever she sang.
Signature Songs & Screen Roles
Kitt’s musical career included a series of unforgettable hits that still define her artistry today. “Santa Baby,” released in 1953, remains her most famous song — a playful yet subtly subversive take on materialism and feminine power. Her other classics, including “I Want to Be Evil” and “Just an Old Fashioned Girl,” showcased her witty, provocative edge and her mastery of comedic timing within music.
But Eartha Kitt was far more than a singer. She became a Broadway and film star, dazzling audiences with her acting and dancing talents. Her performance in New Faces of 1952 marked her Broadway breakthrough, while films like Anna Lucasta introduced her to Hollywood.
In 1967, Kitt achieved pop-culture immortality when she was cast as Catwoman in the hit TV series Batman. With her sleek style, slinking movements, and seductive voice, she redefined the character and left an indelible mark on television history. Her Catwoman wasn’t just sexy — she was witty, intelligent, and self-possessed, a reflection of Kitt’s own personality.
She would later lend her unmistakable voice to animated films, most notably as Yzma in The Emperor’s New Groove and its spin-off series, a role that earned her multiple Daytime Emmy Awards.
The 1968 White House Incident & Political Activism
While Eartha Kitt was beloved by audiences for her glamour and charisma, she also possessed fierce convictions. On January 18, 1968, she attended a White House luncheon hosted by First Lady Lady Bird Johnson to discuss juvenile delinquency. When asked about the causes of youth unrest, Kitt boldly criticized the Vietnam War, stating that young Americans were being sent “to be shot and maimed” abroad.
Her remarks shocked the room and made headlines nationwide. In the days that followed, the press vilified her, her bookings in the United States dried up, and she found herself effectively blacklisted. Later declassified documents revealed that the CIA had even compiled a dossier on her activities.
This moment revealed Kitt’s courage and integrity. At a time when many entertainers stayed silent to protect their careers, she spoke her mind — and paid the price. Her professional exile, however, did not silence her. She moved back to Europe and continued performing, earning acclaim in London, Paris, and beyond. The experience turned her into a symbol of creative independence and political defiance.
Reinvention, Later Career & Legacy
By the 1970s, Eartha Kitt made a triumphant return to the United States. Time had softened public sentiment, and audiences once again embraced her artistry. She performed in acclaimed stage productions, television specials, and concerts, proving her talent and versatility remained unmatched.
In 1984, she enjoyed a musical comeback with the disco hit “Where Is My Man,” introducing her to a new generation of fans. She became a favorite in the LGBTQ+ community, admired for her flamboyance, resilience, and refusal to conform.
Throughout the 1990s and 2000s, Kitt continued to perform, record, and tour internationally. Her cabaret shows were particularly celebrated — intimate, witty, and full of stories that spanned decades of experience. Even in her eighties, she performed with the same energy and allure that defined her early career.
She passed away on December 25, 2008, at her home in Connecticut, surrounded by family. Her death prompted global tributes from artists, fans, and world leaders. She had lived a full, fearless life, defying categorization and refusing to be forgotten.
Artistic Style, Persona & Influence
Eartha Kitt’s artistic identity was inseparable from her persona. Her voice — sultry, feline, and immediately recognizable — was her greatest instrument. Whether she was singing a ballad, a jazz tune, or a comedic song, she infused it with nuance, wit, and emotional intelligence.
Her stage presence was equally magnetic. She used silence, movement, and eye contact as tools of seduction and communication. Her performances were not about perfection; they were about connection — making every audience member feel seen and included in her playful, often provocative world.
Her persona blended glamour and rebellion. Long before the rise of feminist performance art, Kitt embodied female autonomy and control. She used the image of the “temptress” not as submission to stereotype but as an act of subversion — turning male fantasies into her own power.
Her influence endures in artists who mix sensuality with intellect: performers like Grace Jones, Beyoncé, and Janelle Monáe cite her as a precursor. Fashion designers, too, continue to reference her iconic looks — the arched brows, the fitted gowns, the sharp humor, the unmistakable purr.
Challenges & The Role of Race and Identity
Eartha Kitt’s career cannot be separated from the context of race and identity in mid-century America. As a mixed-race woman in the Jim Crow South, she experienced both personal rejection and systemic discrimination. Throughout her life, she sought belonging — and found it through art.
In the entertainment industry, she was often exoticized: marketed as “the other woman,” mysterious and feline. Yet she refused to be confined to typecasting. Her ability to speak multiple languages and connect with audiences around the world made her a cosmopolitan figure long before globalization reshaped entertainment.
Kitt also used her voice to address injustice. Her public outspokenness about poverty, racism, and war made her a rare figure — a glamorous entertainer who insisted on being taken seriously. The courage it took for a Black woman in the 1960s to challenge power publicly cannot be overstated.
Her life, in this way, mirrors the broader struggles of African American artists who sought not only to perform but to speak, not only to entertain but to transform.
Why Eartha Kitt Matters Today
In a world where celebrity is often fleeting, Eartha Kitt’s legacy endures because it represents authenticity and defiance. She was among the first performers to truly master the art of self-creation — long before social media made “personal branding” a concept.
She mattered because she refused to be tamed. Whether on stage, in interviews, or at the White House, she owned her truth. That truth wasn’t always convenient or popular, but it was always honest.
Her story offers timeless lessons:
- Be unapologetic. Kitt’s confidence wasn’t arrogance — it was survival, a shield forged by years of rejection and resilience.
- Embrace reinvention. She evolved with each decade, proving that creativity has no expiration date.
- Use your voice. Kitt’s activism shows that artists can wield influence beyond entertainment.
- Find strength in individuality. Her uniqueness — the voice, the accent, the look — made her unforgettable.
Today, her songs continue to play every holiday season, her Catwoman remains iconic, and her interviews still circulate online, reminding audiences that brilliance and authenticity can never truly be silenced.
Concluding Thoughts
Eartha Kitt’s life reads like a novel — filled with hardship, glamour, heartbreak, triumph, and reinvention. From the cotton fields of South Carolina to the nightclubs of Paris and the stages of Broadway, she lived on her own terms.
She challenged expectations of race, gender, and celebrity. She proved that a woman could be powerful and playful, sensual and serious, political and popular all at once.
Her voice — that low, purring, knowing voice — remains a symbol of defiance and grace. She left behind more than performances; she left a philosophy: never let the world tell you who you are, and never apologize for the fire that makes you different.
At Empire Magazine, we remember Eartha Kitt not just as the woman who sang “Santa Baby” or portrayed Catwoman, but as an artist who dared to be more — a rebel in heels, a truth-teller in sequins, and a soul who refused to be silenced.
