Eartha Mae Kitt (January 17, 1927 - December 25, 2008), was an American act… Read Full Bio ↴Eartha Mae Kitt (January 17, 1927 - December 25, 2008), was an American actress, singer, and cabaret star. She was perhaps best known for her 1953 Christmas song Santa Baby. Orson Welles once called her the "most exciting woman in the world". She took on the role of Catwoman for the fourth season of the 1960s Batman TV series, replacing Julie Newmar who was unavailable for the final series.

Born in tiny North, South Carolina to Mamie Kitt, who was of Cherokee and African-American descent, and an American father (surname Kitt) of German and Dutch descent, she was raised by her maternal aunt Anna Mae Riley, whom she believed was her mother up until after Riley's death, when she was sent to live in New York City with her real mother.

Kitt began her career as a member of the Katherine Dunham Company and made her film debut with them in Casbah (1948). A talented singer with a distinctive voice, her hits include Let's Do It, C'est Si Bon (It's So Good), Just an Old Fashioned Girl, Monotonous, Love for Sale, I'd Rather Be Burned as a Witch, Uska Dara, Mink, Schmink, Under the Bridges of Paris, and arguably her most recognizable hit, the sexily sung Christmas song Santa Baby. She sang quite a few songs in French, a language she picked up during her years performing in Europe, but she never lost her American accent, which made her French songs sound rather amusing to native French speakers. She dabbled in other languages as well, which she demonstrated in many of the live recordings of her cabaret performances.

In 1950, Orson Welles gave her her first starring role, as Helen of Troy in his staging of Dr. Faustus. A few years later, she was cast in the revue New Faces of 1952, introducing "Monotonous", "C'est Si Bon" and "Santa Baby", three songs with which she continues to be identified. During her run, 20th Century Fox filmed a version of the play. Welles and Kitt allegedly had a torrid affair during her run in Shinbone Alley, which earned her the nickname by Welles as "the most exciting woman in the world". In 1958, Kitt made her feature film debut opposite Sidney Poitier in The Mark of the Hawk. Throughout the rest of the 1950s and early 1960s, Kitt would work on and off in film, television and on nightclub stages. In the late 1960s television series Batman, she played Catwoman after Julie Newmar left the role. This was the role for which she would best be remembered, owing to her purring feline drawl.

In 1968, however, Kitt encountered a substantial professional setback after she made anti-war statements during a White House luncheon that reportedly made First Lady Lady Bird Johnson weep uncontrollably. Professionally exiled from the U.S., she devoted her energies to overseas performances before returning to New York in a triumphant turn in the Broadway spectacle Timbuktu! (a version of the perennial Kismet set in Africa) in 1978. In the musical, one song gives a 'recipe' for mahoun, a preparation of cannabis, in which her sultry purring rendition of the refrain "constantly stirring with a long wooden spoon" was distinctive.

In 1984, she returned to hit music with a dance song, Where Is My Man; the first certified Gold record of her career. Kitt found new audiences in nightclubs across the country, including a whole new generation of gay male fans, and she responded by frequently giving benefit performances in support of HIV/AIDS organizations.

In 2000, Kitt again returned to Broadway in the short but notable run of the revival of the 1920s-themed, The Wild Party, opposite Mandy Patinkin and Toni Collette. In 2003, she replaced Chita Rivera in Nine. In recent years she had also appeared as the Wicked Witch in the North American national touring company of The Wizard of Oz.

One of her more unusual roles was as Kaa the python in a 1994 BBC Radio adaptation of The Jungle Book. Kitt lent her distinctive voice to the role of Yzma in Disney's The Emperor's New Groove and also did other voiceover work such as the voice of Queen Vexus on the animated TV series My Life as a Teenage Robot. She continued her role as Yzma on the spin-off TV series of The Emperor's New Groove, The Emperor's New School.

In recent years, Kitt's annual appearances in New York made her a fixture of the Manhattan cabaret scene. She took the stage at venues such as the Ballroom and, more recently, the Café Carlyle to explore and define her highly stylized image, alternating between signature songs (such as "Old Fashioned Millionaire"), which emphasized a witty, mercenary world-weariness, and less familiar repertoire, much of which she performed with an unexpected ferocity and bite that presented her as a survivor with a seemingly bottomless reservoir of resilience - her version of Here's to Life, frequently used as a closing number, was a sterling example of the latter. This side of her later performances is reflected in at least one of her recordings, Thinking Jazz, which preserves a series of performances with a small jazz combo that took place in the early 1990s in Germany, and which includes both standards (Smoke Gets in Your Eyes) and numbers (such as Something May Go Wrong) that seem more specifically tailored to her talents; one version of the CD includes as bonus performances a fierce, angry Yesterdays and a live take of "C'est Si Bon" that good-humoredly satirizes her sex-kitten persona.

Personal life
Kitt was married to John William McDonald, an associate of a real-estate investment company, from 1960 to 1965. They had one child, a daughter, Kitt (b. 1962, married Charles Lawrence Shapiro); and two grandchildren, Jason and Rachel Shapiro.

Eartha Kitt died of colon cancer on Christmas Day, December 25, 2008.

Do You Remember?
Eartha Kitt Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

I can hear you sighin'
Sayin' you'll stay beside me
Why must it be
That you always creep
Into my dreams

On the beach we're sitting
Huggin', squeezin', kissin'

Why must it be
That you always creep
Into my dreams
In my dreams

When I'm sleep at night baby
I feel those moments of ecstasy
When you sleep at night baby
I wonder do I creep into your dreams
Or could it be I sleep alone in my fantasy

Oh, love is so amazing (Oh, oh, oh, ah, ah)
Guess you will be stayin'
So let it be
That you always creep
Into my dreams
In my dreams

When I'm sleep at night baby
I feel those moments of ecstasy
When you sleep at night baby
I wonder do I creep into your dreams
Or could it be I sleep alone in my fantasy

Oh, love is so amazing (Oh, oh, oh, ah, ah)
Guess you will be stayin'
So let it be
That you always creep
Into my dreams
In my dreams
In my dreams
In my dreams
In my dreams
In my dreams

In my dreams
In my dreams

Overall Meaning

The lyrics of Eartha Kitt's "Do You Remember" convey a sense of longing and unrequited love. The singer hears their lover saying that they will stay by their side, but questions why they always appear in their dreams. The opening line, "I can hear you sighin'" suggests that the lover is physically present, but the singer is not content with their current situation. Perhaps the lover is emotionally distant or their feelings are not reciprocated.

The second verse describes a romantic moment on the beach, yet the singer still questions why their lover is only present in their dreams. The repetition of "In my dreams" reinforces the idea that the singer's desires are not being fulfilled in reality. The bridge explores the idea that love can be overwhelming and fantastical. The last line, "guess you will be stayin'," could be interpreted positively or negatively; the singer may be resigned to their situation or hopeful that their lover will eventually come around.

Ultimately, the lyrics of "Do You Remember" express a sense of yearning and uncertainty in matters of the heart. The dreamlike quality of the song adds to its emotional impact, as the listener is immersed in the singer's inner world of desire and disappointment.

Line by Line Meaning

I can hear you sighin'
I am aware of your deep sighs

Sayin' you'll stay beside me
You promise to stay by my side

Why must it be
I question why this happens

That you always creep
That you persistently infiltrate

Into my dreams
Into my subconscious thoughts

On the beach we're sitting
We are sitting on the sandy shore

Huggin', squeezin', kissin'
Holding each other tightly, embracing, and sharing kisses

When I'm sleep at night baby
During my slumber, my dear

I feel those moments of ecstasy
I experience a state of intensified pleasure

I wonder do I creep into your dreams
I question if I invade your subconscious thoughts

Or could it be I sleep alone in my fantasy
Perhaps I only experience this in my own daydreams