Lena Horne and Judy Garland Divas, Desire, and Discipline in the Civil Rights Era Deborah Paredez

Battling divas offer lessons in the art of anger: how to fight an oppressive order by inventing a resilient self. — Wayne Koestenbaum (1993)

A black woman’s body was never hers alone. — Fannie Lou Hamer (in Lee 2000:9–10)

The diva — as the embodiment of a strong, complicated, virtuosic, gender-troubling woman — has long been the subject of adoration and vilification. She is divine redeemer and sublime demon; utterly human as she endures her very public struggles and post-human in all of her glorious gender fuckery; a powerful and unapologetically ambitious woman who is, nonetheless, not always a friend of feminism. In his poem, “Diva,” Rafael Campo writes of the redemptive power of the diva during the moment of his coming out: “I was / so utterly bereft. Yet not alone — / I knew a woman’s voice was saving me” (1999:33). Wayne Koestenbaum observes, “The diva is demonized: she is associated with difference itself [...] Mythically, she is perverse, monstrous, abnormal, and ugly” (1993:104). The diva’s monstrosity is undeniably linked to the ways she troubles gender divides and sexual categories. Divahood is, as Susan J. Leonardi and Rebecca A. Pope write, “ever a gender disorder” (1996:57). But divas — in all of their catty competitiveness with other divas — also refuse to be fixed within the category of

TDR: The Drama Review 58:4 (T224) Winter 2014. ©2014 New York University and the Massachusetts Institute of Technology 105

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106 Deborah Paredez and bydesire. Whenyou listentoopera [divas], doyou hearyour leastsanctioneddesires speak? between identificationanddesire. Andwearetherebyrentandremade. the divine In timewiththenowwhileinsistingthatit’sforwhat’snext. The divaisnotjustpres- is =a0B3GNAKXFo) post-feminist moment. (not) talkingaboutfeminism, amongboththeradicalandreactionaryinthispurportedly for feminism” (Doty2007:2). Indeed, oflate, thedivahascirculatedasarhetoricalstrategyfor empowering rolemodelforunrulywomen: “Divas won’teverbetheunalloyedgoldstandard [email protected] Texas–Austin andcofounderofCantoMundo, anational organizationforLatina/opoets. Turn It Out: Divas inAmerican Culture. She Professor isAssociate ofEnglish attheUniversity of 2009). Her manuscript,Blue current andFull projects includeapoetry of Stars, andthecriticalstudy, scholarly book,Selenidad: Selena, Latinos,andthePerformance ofMemory (DukeUniversity Press, Deborah Paredez volume, This Side of istheauthorofpoetry Skin (Wings Press, 2002),andthe Garland Show, season 1, episode 4, 13 October 1963. (Screenshot by Figure 1. (previous page) Lena Horne and Judy Garland sing “Day In, Day Out” together on such anawfulspin, inaspin, inuhhh/ Aaaah, Ilove tolove you, baby. shamelessness Utterly queerandqueering, thedivareconfiguresourdesires, transformingourshameinto straight time. Free free freeout. oftime running subterranean desires, thedivamovesusbeyondconfinesofpresent, beyondthelimitsof When anondiva writesdiva prose, shewritestoadmire ortoimpersonate . a newOther. able inthisworld. Ionlydateandroids.[...] tographer’s angle!spotlightdimensions!threadcount!), desireswhatisoftennotyetavail- too much(anariacanbarelycontainherpassionatelongings), makestoomanydemands(pho- exceeds theboundsofpropriety, ofthenormal, ofoureverydayencounters. The divadesires for emotion. we seekshelter. Diva[...] butitisalsoapliantsocialinstitution, isaspecificfemalerole aframework a politicalforce. anxieties, andconflictsaboutgender, sexuality, citizenship, race, andracism. Thediva’s voice is 8. 7. 6. 5. 4. 3. 2. 1. in

The diva’sdesireisadisciplinewefollow, strivetoenact. Shedisciplinesusintoandthrough Above all, perhaps, thedivapropelsusthroughchthonicchambersofdesire. Herdesire Jones(2011). Summer(1975). (1993:240). Koestenbaum Monáe(2013). (1993:85). Koestenbaum Leonar (1993:111). Koestenbaum wearticle, have left some citations as footnotes. TDR style calls for in-text citations with references at the end of the essay. To allow for the author’s intended flow of the The divaistheunattainablygloriousdeityweworshipandaffectivesanctuaryinwhich time. Intimewithfashion. Intimewithferocity. Intimewiththebaselineofherdesires. di and Pope (1996:19).

— 2 Inhercapaciousness, thedivamanifestsandindexes(counter)publicaspirations, 5

It’snowonder, then, thatwhenwedesirethediva we desirebothtopossessandbecomeher

— 3 Movedbyhervoice, wearecompelledtoexpandthedimensionsofourown.

especially forthoseofus 1

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And whenever Ispeakaboutandroids...I’mtalking E “Others.” Doittomeagain andagain / You putmein d. 8 Shedoesnotneedtostartontimebecauseshe . Sheshattersourcategoricaldivisions TDR;

— 7 Inherawakeningofourmost

as withanyrelationship

4 www.youtube.com/watch?v

The Judy 6

Lena Horne and Judy Garland 107 How 10 11 As racialized women who, women who, As racialized 9 have to be changed” (31). (31). changed” be to have would

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, the law the , ideally

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(1963). Show Garland Judy The Every move measured the shrinking distance between themselves and Every move measured the shrinking distance 12 13

Horne performed “Day In, Day Out,” the Rube Bloom and Johnny Mercer standard originally composed in in composed originally standard Mercer Johnny and Bloom Rube the Out,” Day performed In, “Day Horne Filled with kinetic potential...their stillness...consisted in monitoring and refraining from casually in monitoring and refraining with kinetic potential...their stillness...consisted Filled ne compelling example Torres documents is James Bevel’s “insurgent knowledge” of media’s potential use in his his in use potential media’s of knowledge” “insurgent Bevel’s James is documents Torres example compelling ne

n her article on “Choreographies of Protest,” Susan Leigh Foster discusses the ways that civil rights–era “sit- rights–era civil that ways the discusses Foster Leigh Susan Protest,” of articleher n “Choreographies on Simone Simone (1967). Lena on Garland Judy with 1939, I (2003:412). newtwo learned inners passivity” articulateness,and kinesthetic stillness of kinds active O spec- television a imagine to able was “Bevel 1963: May in Marches Children’s Birmingham the of conception for non- prepared and movement the to recruited be would who blacks to-be-mobilized of comprised tatorship in film training a as documentary]NBC 1960 [the used ‘Sit-In’ He representation. televisual by protest violent the performanceblack through agents political black routing potential to thus elsewhere), (and Birmingham John Congressman activist, rights civil quotes reknowned also Torres (2003:30). television” network of medium starting,it was knewI and clicking, cameras now newsthe hear could photographers’ “You Lewis,recalls, who push hoped, we eventually, would that publicity more and violence more and publicity and violence of cycle that something where point the to things F (2002); Dyer see dance culture, male gay in divas disco black of role the For (1988). Harrison and (2001); Griffin (2004). Lawrence and (1993); Krasnow (2005); Kooijman As spring turned to summer in 1963, Lena Horne struck her own defiant pose of rage- Lena Horne struck her own defiant pose As spring turned to summer in 1963, Black American divas, from blues queens to disco stars, have been central to producing and to producing have been central stars, queens to disco from blues divas, American Black

9. The Judy Garland Show Garland appearance on an episode of The Judy in-restraint for television cameras in her the set of Horne arrived on 13 October 1963. that was taped in July and aired on CBS on Garland was only to find that for her 23 July taping, Garland’s CBS variety show for rehearsals 11. 12. 13. (1998); Davis (1999); Carby see black divas, of considerations by informed feminism black of theories or 10. Spring 1963. In lawns across Birmingham, Alabama, the silky dogwood’s white blooms are dark- the Alabama, across Birmingham, In lawns Spring 1963. for action, Bodies steeled and stilled Ingram Park. Kelly Lane Drugstore, ening to blue fruit. buffeting themselves against the rage of others: they hold postures of restrained rage while dogs and twisted into tensile coils against arrest and poised and unmoored at lunch counters, hoses. abundant kinetic impulses. Lena Horne “Day In, Day Out” in America in Out” Day In, “Day Lena Horne propelling this circuitry of desire for marginalized communities. this circuitry of desire propelling ent tense, but subjunctive. Not simply in time with what is, but with what ought to be. In time what ought to be. but with what is, Not simply in time with but subjunctive. ent tense, with justice. those who witnessed their bodies in photographs and newsreels. Civil rights–era direct action Civil rights–era and newsreels. those who witnessed their bodies in photographs choreography of restraint and trained the cameras to demonstrators trained their bodies in the Torres Sasha unjustly obstructed gestures of citizenship. capture their movements as reasonable, cause with the civil rights movement in its quest “[N]etwork television made common observes, [...] proved remarkably adept both at pro- for a national audience [and] civil rights strategists stories designed with the networks in mind” viding visually dramatic and narratively coherent (2003:33–34). in the face of tremendous risk, have dared to publicly perform their desires, black divas have black divas perform their desires, have dared to publicly of tremendous risk, in the face or of a long-derided the articulation precisely through to claim our subjectivity taught us how bowl. in my soul / I need some sugar my Come on save therefore I am. I desire; denied desire. does the black diva perform her own desire, especially in light of the ways black women’s bodies especially in light her own desire, does the black diva perform What does desires of those in power? as always and already available to the are over-determined sound like? How does the black refusals of others’ desires look or that desire and its attendant maneuvering against the disci- to inhabit desire while simultaneously diva discipline her body voodoo out / the same old day in, Day desires that circumscribe her body? plining clutches of racist / One possibility in view. with a tingle I awaken When I awake, / follows me about... Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27September 2021

108 Deborah Paredez for whichshewasoftenderidedbycritics. Shane Vogel hasastutelyobserved, wasmarkedbyastrategicaloofnessorinaccessibility and whitebodiesduringthecivilrightsperiod. sions itevokes, gesturespowerfullytowardtheemotionalandsocialrelationsbetweenblack the JohnnyMercerandRubeBloomstandard, “Day In, DayOut,” andthedesiresderi- Garland nortoacattyaccountofcompetitivenessbetweenbattlingdivas. process, theexchangebetweentwodivasisnotreducibletoHorne’santipathytowards Garland maybe(dis)regardedassimplytheresultofHorne’sfrustrationduringrehearsal like this!” (Tormé 1971:76). While Horne’sperformanceofrestrainedrageinherduetwith row. Idon’tevenknowifwesoundgoodtogether. Man, inallmylife, I’veneverseenanything fessionalism,” proclaiming, “Who thehelldoesshethinkis? We’re doingthisshowtomor Garland, Horneexpressedheroutrage, reportedlyincensedbyGarlandas “the heightofunpro- in Las Vegas for much oftheweek. After severaldaysofrun-throughsalongsideastand-infor 16. 15. idway through the episode, Horne sings (alone) another one of her signature songs, “I Want to Be Happy,” and 14. among thefirstblackwomentogainrecognitionandaregularpaycheckfromHollywood. Her film’s circulationinSoutherntheatres. sang cameosinisolatedframesincidentaltothenarrativethatcouldeasilybeexcisedfor per clubchanteuseinthecabaretcircuitandasa “pillar singer” inarangeoffilmswhichshe short-lived butnowlegendaryshow, LenaHornehadestablishedherselfasasatin-voicedsup- more liberalconceptionsofequality. ist desireforreconfiguredrelationsbetweenblackandwhitebodiesthatarenotpossiblewithin interracial sisterhoodthatGarlandattemptstoenactandinsteadstagesanincipientnational- rage-in-restraint ultimatelyexpressesanexplicitrefusaltosubmitthecircuitofdesirefor fastened body forthecameraswhilesimultaneouslybaringitsaffectiveunderseamofjustified reserve, andtenor, LenaHorne’sperformancesignalsthediscipliningofcivilrights–era in, ing akinestheticmodelforthewaysblackbodiesusedtelevisionmediumtoengage black subjectsseekingfullcitizenshiprightsintheclosingyearsofJimCrowera, provid- ninity. Herrenditionof “Day In, DayOut” embodiesasearingenactmentofeverydaylifefor the racialliberalistframingoftheirstagedactandqueersitsconstructionsracializedfemi- dayout

The episode’sopeningduetbetweenHorneandGarlandononeofHorne’ssignaturesongs, derision of Horne’s aloofness, see Vogel (2008). tion that pushes away from authenticity towards and irony” artifice (2011:141). For a discussion of some critics’ in her film persona: “Her are performances brilliant, vivid, electrifying, but always with that filigree of sophistica- constraints of Jim Crow spectatorial relations” (2008:36). Richard Horne’s Dyer also observes distancing strategy masquerade or diva haughtiness) that enabled Horne to claim “the psychic space to elaborate a self within the V Southern censorship of her scenes in Peck (1957:X3). overall space-time co-ordinates, small” keep the space for the performance (2011:125, 133). Horne discusses the push of her films is to have her do nothing: keep her trap shut, stay out of the story, edit her out of the film’s the mouth small, seems designed to achieve a sense of constraint. [...] Not knowing what to have Horne do, the own, it is metaphorically so. suggests that if not literally true, to stay in place, like that tokeep The instruction fact that the image of her thus, draped and pinned, is so insistent in the memory, including it seems Horne’s tic, there are no numbers in any of her films in which Horne is positioned against a column. [...] However, the R ing affect during the opening duet did not arise from her resentment at sharing her signature song with Garland. the others’ signature indicate that songs. These subsequent performances Horne’s conspicuously controlled seeth- then, near the episode’s closing, joins Garland again in a volleying exchange wherein each diva sings lyrics from M By thetimesheappearedasheadliningguestonfourthepisodeofJudyGarland’s ogel persuasively interprets Horne’s aloofness as “a impersona” studied performance (rather than an act of racial egarding Horne’s label as a “pillar singer,” film scholar, Richard Dyer,“To insightfully observes: be pedan-

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rage.

in directactionprotestcampaigns. Within theperformativeconventionsofdivaduet, Horne’sdisciplined 15 Herperformancepersonawithinthecabaretscene, as 16 Horneoccupiedtheunenviablepositionofbeing 14 Through gesture, voice, comportment, tempo, Throughout theperformance, Horneresists

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barely

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day

one - Lena Horne and Judy Garland 109

- 19 - But 17 “race.” “race.” a racialized a racialized

On the 21 —

24 Fannie Lou Hamer’s signature hymn from that Fannie Lou Hamer’s signature hymn from

show. While she waited, she received the news she received While she waited, show. —

the refusal of what is or has been pronounces the desire for what or has been pronounces the desire for what the refusal of what is

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18 On 21 June she returned to Jackson for an NAACP rally in Evers’s honor where rally in Evers’s honor On 21 June returned to Jackson for an NAACP she 23

20 Horne’s controlled ferocity within the diva duet thus articulates a desire for an alter ferocity within the diva duet thus articulates Horne’s controlled to me now seems to is a casualty in what Horne proceeded with the interview: [Evers]

and visited with black youths preparing for the dangers of protesting and voter reg and visited with black youths preparing for

22 —

amer (1964); Lee (2000). Lee (1964); amer orne in Gavin (2009:320). Gavin in orne

oy Wilkins was executive secretary of the National Association for the Advancement of Colored People from from People Colored of Advancement the for Association secretary National the of executive was Wilkins oy or a discussion of Simone’s “articulation of simmering rage,” see Brooks (2011:181). (2011:181). Brooks see rage,” simmering of “articulation Simone’s of discussion a or n Gavin (2009:318). This moment, as Vogel observes, signals the decisive break from her segregated perfor - segregated her from observes,Vogel break decisive the signals as moment, This (2009:318). Gavin n n her interview with Seymour Peck in 1957, Horne decried the ways that Southern censorship of her MGM MGM her of censorship Southern that ways the decried Horne 1957, in interviewher n Peck Seymour with Unger (1984). Unger mances of the first half of the 20th century 20th the of half first the of mances (2008:35). H R 1977. in NAACP the from retired He director. executive became he when 1964, to 1955 H I scene any that accepted fact an was “It played: she characters for the development expansive any foreclosed films I where movie in a me put to bothered one no So South. the played movie the when cut be to going was did I (1957:X3). cut” storythe of were I if thread some broken be might where anybody, to talked I Karl F Two days after this rally, Hamer and five other civil rights workers were arrested on false Hamer and five other days after this rally, Two By the early 1960s, Horne was known for expressing strident critiques of the representa- was known for expressing strident Horne By the early 1960s, seems representative of her Show seems representative Garland on The Judy Horne’s appearance At first glance,

be a war. We are fighting a moral war. And that my life would be touched by his, only inspires me to try only inspires by his, would be touched my life And that war. fighting a moral are We be a war. and to try to be purposeful in the kind of battle I think we not to hate [she lets out a sarcastic chuckle] to wage. have charges in Winona, Mississippi, and jailed and tortured by police for three days. and jailed and tortured Mississippi, Winona, charges in tional constraints that framed her roles onscreen and onstage during the Jim Crow era, hav- during the Jim Crow era, framed her roles onscreen and onstage tional constraints that abruptly dropped by the studio in the early 1950s. ing been signed by MGM in the 1940s and 24. 21. 22. 23. 19. 20. 17. 18. (2012). sound Horne’s describe to “vocalism-in-control” term the uses Miller Hagstrom sound of a café au lait appeal: the vision and with mainstream as a palatable exotic secured status standards. on shopworn showcasing a vocalism-in-control in a tailored costume songstress woman who was sought after as both consumable synecdoche for and exception to her for and exception both consumable synecdoche was sought after as woman who persona and talents were thus often cast within the discourse of exceptionalism cast within the talents were thus often persona and I began a was transformational for Horne: I began This experience Shall Overcome.” “We she sang, tears. I hadn’t used my years For of crying. year whole should be. - conven exploits the desire/derision Lena Horne actually with Judy Garland, in her exchange but to expose the controlled to perform not simply her signature restraint tions of the diva duet diva expressions of defiance are, Horne teaches us that black Here, rage. ferocity of black female of desire expressions in fact, her performance In this way, and relational role for black female subjects. native affective space female civil rights–era vocalists black defiant, “legibly” with the more actually aligns Horne Odetta from whom she is often set and Abbey Lincoln, Nina Simone, (and activists) such as in distinction. morning of Hamer’s release on 12 June, Horne was in the green room at the NBC studios Horne was in the green room at the NBC morning of Hamer’s release on 12 June, before her scheduled appearance on the Today leader Roy Joined by prominent civil rights and NAACP that Evers had been murdered. Wilkins, During this time, she also began to show public support of civil rights campaigns. A month she also began to show public support of civil rights campaigns. During this time, upon black after witnessing news footage of hoses turned violently before the show’s taping, Medgar Horne accepted chief Bull Connor’s orders), student protesters (at Birmingham police on 7 June 1963. Mississippi, rights rally in Jackson, Evers’s invitation to participate in a civil “This Little Light of Mine” There she sang period It was the first time I believed I had any talent at all. I cried for the first time in I cried for the first talent at all. I had any I believed time first the It was istration drives. many years. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27September 2021

110 Deborah Paredez www.youtube.com/watch?v=a0B3GNAKXFo) Judy Garland Show, season 1, episode 4, 13 October 1963. (Screenshot by Figure 2. Judy Garland sings the opening section of “Day In, Day Out” on tion tion andIwanttobeapartofitinwhateverrolecanfillbest” (65). ideological andtacticalshiftsinthecivilrightsmovement: “The struggleisbecomingarevolu- rise, momentarilydislodgingsuchacoverandunequivocallyconveyingheralignmentwiththe a “sophisticatedcoverforhostility” (1963:64).Here, Horneallowsherdeclarationstoroiland snapping withthemusicalshift toamambobeatthatservessignalLenaHorne’sentrance. tural expanse, culminatingatthe song’sendwithawidesweepandriseofherrightarm, fingers dropped oraltered. Imeetyou andtometheday isfine. With eachverseshegainsagreaterges- loping melody, asshe completesafullversionofthesong, skippingalong eachnote, nolyric bility anddivinity. Garland buildsvocalmomentum, hervoicerunningtocatch upwiththegal- repeatedly returnstothisself-enclosedposture. Day out, day in. The diva’sdialectic:vulnera- keeps atightcircumferencearoundherbody. Day out. Asshesings, shewidensthecircle, but swallowed upbythehornsinthisup-tempoarrangement. Day in. Sheclutchesherelbows, ence’s applausebeforeshelaunchesintothesong. When shebegins, hervoiceislow, nearly along thiswalloflights, brieflyopeningherarmswidetoacknowledge andacceptheraudi- stage lightsagainstadarkbackground. A longpansoon revealsGarlandsaunteringdownstage against whiteliberaldesiresforinterracialunity. her careertoanotherandvisuallyconveysthedisciplinedposture ofthecivilrights–erabody performance intheshow’sopeningduetsonicallyregistersa temporal shiftfromonephaseof year thatmarkedwhatshereferredtoasher “personal reawakening” (in Vogel 2008:34). Her formance ontheshowsimplyreducibletobiography, tothenewfounduseofhertears, tothe simply amovementfromcoldnesstowarmth, fromimpersonaltoaccessible. Norisherper made manifestinher1963appearanceonTheJudy Garland Show. Buthertransformationisnot thawed andheraloofnesstookonadifferenttimbre” (2008:37). This differenceintimbreis tions ofthecivilrightsmovement,” Vogel observes, “Horne’s coldnesstowardheraudience from herpreviouslymaintainedpersonaofwithholdinganddistance. Horne’s conspicuouspublicdisplayandrhetoricalpronouncementofsuchexcessiveemo- The showbeginswiththesoundofbrighthornsandaclose-up ofalongrowwhite

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seething sarcasm, uncontainablesorrow, exposedhostility The The TDR; made uponher, shehadcrafted constraints showbusinesshad how, inresponsetotheracist which shespokecandidlyabout “I Just Want toBeMyself,” in an articlesheco-wrotecalled, cover issueofShowmagazinefor also appearedontheSeptember Birmingham, Alabama.Horne that killedfourBlackgirlsin bombing on15September the 16thStreetBaptistChurch Here’s LenaNow)inresponseto “Now,” onher1964album, with thecivilrightsanthem, “Silent Spring” (includedalong a dream” speech)andrecorded Luther KingJr. gavehis “I have and Freedom(whereMartin March on Washington forJobs took partinthe28 August show’s tapingandairing, Horne

— In themonthsbetween

signal amarkeddeparture “After thetransforma- - Lena Horne and Judy Garland

111 I’m

www.youtube.com day in day

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, Show Garland Judy The eyes flashing

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aken with a tingle with aken Horne’s mouth a sneer on

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our lips Garland’s re-entrance brings with it ling I think of you gins. gins. rooted in the original song, turns and looks turns and looks rooted in the original song, be

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“Day In, Day Out” by pressing her fingertips Day Out” “Day In, —

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—

and the pounding becomes...

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— Figure 3. Lena Horne sings “Day In, Day Out” on Out” Day In, “Day sings Horne Lena 3. Figure by (Screenshot 1963. October 13 4, episode 1, season /watch?v=a0B3GNAKXFo)

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- ­lyrics as Horne continues to inhabit

— mouth opening in exquisite huffs. like nobody’s loved you loved nobody’s like

— —

the diva voices conjoining midway through the line the diva voices conjoining midway through

The same old pounding in —

...whenever I think of you. Her body still I think of you. ...whenever ” They finish the lyric together ”

Horne, like all epic heroes, remains focused on the horizon. on the horizon. remains focused like all epic heroes, Horne, which their leading the charge into the final verse in Garland grasps; Horne moves onward, The divas’ voices come together again Horne completes the first verse and the camera closes in from a medium shot to a close- Horne completes the first verse and the The wall of lights begins to The wall of wake onna love you onna love pleting the rest of the verse together as Garland slips her gloved hand into the narrow opening pleting the rest of the verse together as Garland between Horne’s crooked elbow and waist. Come commanding the line, Horne strolls downstage, voices split again as they volley lyrics. the open- follows along as she departs from the song’s verse to sing clinging, Garland, . rain “Come Rain or Come Shine” standard, Arlen/Johnny Mercer ing lyrics from the Harold ... I look at you down at her with the crinkled nose and dipped chin of an adult addressing a child. Then snaps along to the swinging melody. laughter, Garland tickled with Saccharine derision. resuming her full-front focus on the middle distance, she looks away, as quickly as Horne looks, is fine. Her ...and to me the day turning her face and voice to polished stone to finish the line, arms enclosing her mid- a fortress, Horne, The horns erupt. is a tripped mine. “fine” mouth on thought; Garland jittering in ricochet. eyes glazed pools deep in distracted line, “kiss. . A fist blossoming. Garland is still lost in the A fist blossoming. together and then flexing them open on Come shine. other song Day in, day out / I needn’t tell you how my day how my out / I needn’t tell you day in, Day up as she starts in on the second verse. like taffy pulled through teeth. Her mouth out. day in, Day The same twisted into a sneer. Sweet follows me about. old voodoo agony. The smoker’s slow heart... my drag. out and day upturned face breaks suddenly into the frame The camera pans to frame the length of their bod- a musical return to an up-tempo rhythm. Horne who body turned slightly toward head craning, Garland’s ies standing together, Garland her gaze floating above and beyond the studio audience. remains squarely full-front, launching into a line in the middle of the verse , enters Horne’s journey en media res a g posefully downstage until she posefully downstage then time And hits her mark. turns to a lan- The tempo slows. horns float The guid jazziness. water like the surface of broken under the vessel of Horne’s the She sings steady voice. - cast stage revolves, move as the it. backstage behind ing Garland of the wall appears The backside image of the front: as a mirror of white bulbs endless rows first We against a black surface. figure see Horne as a shadowy along- emerging into the light pur She walks side the wall. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27September 2021

112 Deborah Paredez mimicry ormasqueradeamongracializedsubjects. white femininity, thecostumingalsosuggestseverpresentmenacingthreatofsuccessful divas andmayappeartoworkagainstprimitivistnotionsofracializedsexualitywithrespect choice mayhavebeenguidedbytheracialliberalistimpulsetoshowequalityamongtwo double-breasted, satintrenchcoats, whitegloves, whitescarves, andwhitepumps. While this women arecostumedidenticallybytheshow’scostumedesigner, Ray Aghayan, inlong, white, ideal. The costuming, too, emphasizestheprecariousnessofwhitefemininity’sstability. Both contingent. HorneisthuspositionedasthenecessaryflipsidetoGarland’sembodimentofthis white femininevulnerabilityandbeckoning between them. Garlandperforms wall thatbothenforcesadistinctionbetweenthetwowomenandsimultaneouslyactsashinge blackness. The musicalnumberrevealstheworkingsofthisendeavorthroughrevolving formance suggests, whitefemininitymustworktomaintainitselfagainsttheshadow-selfof retort isalowgrowl voice anettledroaronthousand. Garlandimprovisesthenextline lyric next 28. 27. or more of black female sexuality in relation on the constructions to white femininity, see Carby (1996). 26. 25. re-iteration ofthesecircumscribedrolestomaintainthestatusquo. entering ascenethatwasalwaysandalreadyunderwayupontheirarrival, onethatdemandsa black wall. The seeminglyendlessrepetitionofthelightssuggeststhatHorneandGarlandare visually signaledimmediatelywiththefocusonrowsandofwhitelightsagainst wail andthedrumssound signaled visually, butsonically, aswell. Evenbeforethelightedwallbeginstomove, thehorns darkness and, atop Garland’sline, improvising the originallyrics cisely, tropicalized. sexualized spectacleofthemulatta. Notsoblackafterall, butavailablyLatinized, ormorepre- slow beatofthemambo. white femininevulnerabilityisconstructedagainstanexcessiveblackfemalesexuality. worn scenariothatstagestheco-constitutivenatureofblackandwhitefemininitieswherein the studio audience. lips. Hornerespondswithanexaggeratedlaughasthecameradriftsfromdivastoashotof Garland takesholdofHornewithbothherhandsandleansintokissgingerlyonthe anchored byHorne’sgrasp. The cameraangleswitchestoaviewfrombehindthedivasas and bow. Horne, withjovialsmile, remainsunmoved. Garlandisaflutteringkiteinlowwind, further downstagetotakeabow. Horneremainsfixed. Garlandgesturesagainforhertocross audience applauds. The divasdroptheirarmsandclasphands. GarlandtriestodirectHorne camera pansandthelightedwallbehindthemrevolvestoitsoriginalpositionasstudio ish togetherinharmony, eachliftingonearmandofferinganembracewiththeother. The

ery” (2011:122). One index of this is the creation of numbers that place her somewhere between black and Latin American imag- tropicalize Horne that in her films, observing “for white Hollywood, [Lena Horne’s blackness] was confusing. A O F F The dialecticalconstructionofracializedfemininityand, moreprecisely, sexuality, isnotjust The semioticandsonicframingoftheduetattemptstopositiontwodivaswithinawell- inthiscase, (re)claimsthesongasherown. or more on reiteration in relation of gender, to the performance see Butler (1990 and 1993). paricio and Silverman theorize the process of tropicalization (1997). Dyer notes the Hollywood tendency to n mimicry and how it threatensn mimicry to unseat power, see Bhabha (1994).

—

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— 28

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her - ; Lena Horne and Judy Garland 113 The TDR

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30 29 in response to Garland’s intrusive kiss.

—

, season 1, episode 4, 13 October 1963. (Screenshot by by (Screenshot 1963. October 13 4, episode 1, season , Show Garland Judy www.youtube.com/watch?v=a0B3GNAKXFo) Figure 4. Lena Horne and Judy Garland sing “Day In, Day Out” together on together Out” Day In, “Day sing Garland Judy and Horne Lena 4. Figure displays a sense of “put-on” affection toward Garland that abruptly affection toward “put-on” displays a sense of

her face stretched tightly toward a smile

— ogel notes that in her cabaret performances during the 1940s, Horne engaged in a protective strategy of of strategy protective a in engaged performances Horne 1940s, the during cabaret her that in notes ogel

The queerness of the duet also emerges in the ways Horne drags herself through it in terms The queerness of the duet also emerges in Doty Doty (2007:4). V of concept Brooks’s Daphne with resonate Horne about insights His (2008:28). singing” “third-person Brechtian - “defamiliariz for female performersblack that argues, deployed Brooks strategy, a distanciation,” feminist “black aestheti- articulatemusicianship should and and can women black voices their where of expectations cultural ing (2011:179). politically” and cally This attempted framing of This attempted framing

feminine. As in all diva duels, As in all diva duels, feminine. , Horne , I look at you the line, - creating dis is fine , and to me the day contorts into a derisive sound and posture in the next line, of it. sonance and critical distance between the apparent meaning of the line and her occupation despite the cabaret’s Horne created, throwing her voice, by By disarticulating her self from her song, and her audience. herself a distance between insistent intimacy, of both tempo and performance style. She drags herself. That is, she appears at times, especially she appears at times, That is, She drags herself. of both tempo and performance style. performing to be in the number’s last section, when singing alternating lyrics with Garland She laughs exaggerat- performing the awareness of herself performing. herself in quotations, edly 30. 29. black and white femininities and black and white femininities unsettled sexualities is actually looks by the ways that Horne and sounds uncharacteristically un there is something unmistak- The columnu- ably queer here. lar costumes render their bodies sleekly phallic so that they resist suffused with an The tension that pervades their duet is easy categories of racialized femininity. in; Horne day duel between divas: Garland pursues, erotic charge that invariably pervades any and Horne’s cinematic representations as Garland’s queer star-text out. day plays hard-to-get, editing out of to facilitate easier attached (again, who is never romantically “pillar singer” the And, to the queerness of their exchange. her scenes for Southern audiences) also contribute voices ulti- their the women for much of their duet, between “connection” while there is little of the women’s The belting force of each consummating a union of sorts. mately harmonize, singing styles also serves to queer and thus elude voices enabled by their shared open-mouthed of black and white femininity that the performance some of the conventions and juxtapositions . category trouble create Divas seems invested in conveying. tices had conditioned audiences audiences tices had conditioned a Lena Horne as “consume” to singer of popular light-skinned the cabaret circuit standards in the slippage between and shows notions of black and dominant serve to Latina sexuality that feminin- bolster ideals of white it shows Or more specifically, ity. was used how Latin(a) sexuality possible as a way to contain the sexuality threat of black female in the service of whiteness. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27September 2021

114 Deborah Paredez upstaging assertionsofdistinction. characterized byitssimultaneousexpressionofdesireanddisdain, oferoticizedharmoniesand tine upendsthetraditionalconventionsofduetform. The divaduet/duelisnotoriously of disciplinedbodilycontrolexertedbythedirectactionprotesters. Horne’s legiblerestraintinthefaceofGarland’sadvancesalignsbodywithmethod signature needinessregistersasanaffronttothestill, focusedblackbody. Inthiscontext, and strivingforclaimstopublicspaceinproximityoftenagainstwhitebodies, Garland’s Horne. When viewedinrelationtotelevisednewscoverageof “live” blackbodiesnegotiating announces Garland’sentranceasanintrusionontheframethatisconspicuouslydominatedby the suddenreappearanceofGarlandwhentwodivas’voicesfinallyconjoin, thisframing Horne waslikelydeployedtoachievedramaticeffectbysurprisingthetelevisionviewerwith close-ups, emphasizingherconsciouslyexecutedfixedposition. Andwhiletheclose-upon ence suggests, acommunitythatisnot-(yet)-here. instead expressesherowndesiretobeinrelationafutureaudiencethatthecamera’spres- will notbemoved. ShethuspositionsherselfoutoftimeandspacewithGarland’sdesires stills volleying verses. Butwhat isstrikingaboutthisduetitsasymmetry:whileGarlanddelivers ber islaunchedwitheachdiva staging herownversionofthesongratherthantakingturns cally chroniclesaseeminglyunidirectionallover’sobsession. Perhapsbecauseofthis, thenum- fact, asongnotespeciallysuitedtotheduetexchangeasitdoes nothavemanyversesandlyri- cally chargedunionsuffusedwithcompetitiveassertionsofsingularity. “Day In, DayOut” is, in usually servestoshowcasebothindividualdistinctionandshared status, toenactanofteneroti- self- nature songsorthroughasharedsonginwhicheachdiva “completes” theother’slyricswith and spacetoshowcasehervirtuosityinrelationtheotherthrough avolleyingmedleyofsig- 32. 31. kinetic impulses ing thisperiod. Horne’sparticularcomportmentofstillness tions enactedbyblackbodiessittingresolutelyatlunchcountersandotherpublicspacesdur its emphasisondurationandrefusalto “hurry along,” resonateswiththetemporaldisrup- of-fact statementofstruggleandsurvivalforblack Americans. This deceleratedtempo, with Garland’s versionbytransformingtheupbeatlovesongintoadeliberatelyexecuted, matter- in, day out, thesameoldhoodoofollowsmeabout. Horneexploitsthepronounceddownshiftfrom stage, thesmileonherlipsabruptlytwistedintoasneerasshesingswithnearlanguor, Day She refusestomovethebeatoftom-toms. Instead, shewalkspurposefullydown- uration outoftimewiththepresent. Sheholdsthingsup, gesturestowardanotherdirection. ciplined rage-in-restraintagainstGarland’sadvancesexpressadesireforrelationalconfig- voice movesustoadifferenttempo, createsatemporalspacebeyondthepresent. Horne’sdis- huffs andpuffs. Sheblowsthehousedown. Smokerisingfromtheslowdrag. desire foracompleterestructuringofrelationsbetweenblackandwhitefemalesubjects. She body moreavailabletoGarland. Shestrikesaconsciousandcultivatedstancethatexpresses nor adiva’sgenerosity, butacontrolledferocity. Shesneersandgrowlsrefusestomakeher and criticallydistancedaloofness. Sheoffersheraudienceneithersimplyan “alienated” restraint ret performancesisthatwithGarlandshedoesnotremainwithinthespaceofdispassionate

The dissonancebetweenHorne’sandGarland’sbodiesemerges aswellinthewaysrou- Bill Hobin, theshow’sdirector, hasthecameraframeHorne’sbodyinmediumshotsand Horne strainsagainstthereignsof “Day In, DayOut.” Shedragsherselfthoughit. Her What distinguishesHorne’sappearanceonTheJudy Garland Showfromherearliercaba- S Foster(2003:412). ee Wolf (2002 and 2006) for discussions of diva duets. consciously clever ­

—

no welcomingorguardedarms

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further echoesthisresonance. , catty, flirtatious, oradmiringturnsofphrase. Thedivisionoflinesthus 32 Structurally, thedivaduetaffordseachequaltime

—

into full-frontaldirectaddressforthecamera. 31 Onceshehitshermarkdownstage, herbody

—

r efraining fromcasuallyabundant She - Lena Horne and Judy Garland 115 - is

—

clutch- exposing and

against Garland’s

—

—

endured. Her propulsive endured. The close-up framing and 33 Horne does not complete her Horne does

withstood,

34 body turned toward Horne,

—

— and its considerably slower tempo and its considerably

Horne never meets Garland in this affec

—

much to the dismay of show business , sonically, and lyrically sonically, ,

—

—

gesturally

—

The lines are drawn, lyrics split asunder rather than completed lyrics split asunder rather than completed The lines are drawn, She can eat you up and swallow you down. you up and swallow She can eat you as an exchange between her and Garland later in the episode reveals:

di and Pope (1996:21). Pope and di

Horne’s performance of the song estranges it from the intimate and playful conventions of Horne’s performance of the song estranges Horne’s wide-opened mouth, contorted with contempt while spilling silken notes through contorted with contempt while spilling silken notes Horne’s wide-opened mouth, F Leonar The diva’s mouth is often understood as the locus of her generative and potentially The diva’s mouth is often understood as the locus of her generative and potentially

love you like nobody’s loved you loved nobody’s like you insisting she will love ing, through this diva exchange. desire so central She refuses throughout to enter fully into the hermetic circuit of the diva duet. Despite Garland’s repeated advances to the duet form. encroachment rather than engage in the more familiar diva duet/duel dynamic of alternating than engage in the more familiar diva duet/duel encroachment rather sound. assertions of space and assertion, Horne’s deviation from the song’s lyrics in her patronizing tive and postural stance. or “meet” literally expresses this refusal to , I meet you rather than the original lyric, , I look at you Restrained and measured A slow drag. insisting instead on a stance of critical distance. interact, Horne’s recalcitrant Set in relation to other civil rights–era protesting bodies, movements. and for the movement’s iconic bodily stance, occupation of Garland’s stage acts as a stand-in to chan- ruptures the circuit of interracial desire through which Garland is trying furthermore, out. in and day Day nel the duet. and also emerges here as a synecdoche for the movement’s disciplined struggles parted lips, wonder and mined jewel. The diva’s mouth: cavernous aspirations. I think of you. heart whenever and literally low-key phrasing on That same old pounding in my your back; Watch as if to say: suggest a warning rather than a plea, I think of you darling, And, and puffs out her cheek a small round bomb, with air, She fills her mouth I’m making my plans. pounding. the word, Horne’s controlled bodily reserve, combined with the costuming that covers nearly all of her combined with the costuming that covers nearly Horne’s controlled bodily reserve, expressions. serve to highlight the complex workings of Horne’s facial body except her face, opens her mouth, oh, and her mouth, her eyebrows lift and knit, Her eyes narrow and flare, words or on emphasized syllables of individual to bare her teeth with contempt on the end - the same old hoodoo is transformed from a lov mouth, Through the alchemy of Horne’s phrases. old racist shit er’s obsession into a reference to the same disrupting fixed notions of racialized femininity executives, destructive power. The desire-engine. She gives voice in public to our private longings, desires, desires, to our private longings, She gives voice in public The desire-engine. destructive power. The diva’s mouth is the velvet-lined It delivers. The diva’s mouth is laboring. and grievances. It is coarse. velvet at all. And it is not the velvet rope that keeps us out. robe we want to wear, Lena Horne dared to open her diva-mouth wide It veers. It charts a course. 33. 34. (1993). Koestenbaum and (1996) Pope and Leonardi see voice, and mouth diva’s the on more or her version of the song in its entirety, Horne’s take of the song in its entirety, her version version alone as Garland did but instead finishes the last verse and a half with Garland at last verse and a half instead finishes the as Garland did but version alone the brief insertion of evident in Garland’s asymmetry is also The duet’s faster pace. Garland’s (from “Day Come rain Horne sings, When or Come Shine.” “Come Rain from opening lyrics rather than a conditional command resounding as a Prospero-issued the phrase Out”), Day In, - Horne does not fol . you love responds with a brief detour to I’m gonna Garland statement, “Day In, resolutely in the space of but remains joins her in the other song, never low Garland, fingers pressed her hand raised from a bent elbow, Horne counters with Come shine, Day Out.” rendering but combative, in an explosive gesture that is not affectionate together then extended as she completes her trailing neediness in the other song, Garland is left alone shine into shiner. them of the lyrics and Horne’s delivery of the allocation Here, . you loved nobody’s like own lyric, to the elements of the song a relational purpose (perhaps due in part fail to serve or achieve steels herself Horne repeatedly itself). interrupted by Garland and the return of an up-tempo charge. return of an up-tempo by Garland and the interrupted Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27September 2021

116 Deborah Paredez Judy Garland Show, season 1, episode 4, 13 October 1963. (CBS/Photofest © CBS) Figure 5. In their closing duet, Horne and Garland refusing to “sing pretty.” 36. is not the only instance in which Horne decries Hollywood’s insistence that she “sing pretty.” In his recon- 35. when justkeeping your mouthwideopenisanactofsubversion. entertaining andpotentiallysinisterminstrelmouth. made allthemorethreateningbecauseofwaysitisalsohauntedbyalways-already- The diva’smouth:notpretty, butsublime. Fortheblackfemalediva, heropenmouthis the serviceofwhitedesire unyielding postureareexpressionsofresistancetothedisciplining ofblackfemale lyric, the closingmomentsoftheirduet, GarlandandHorneeach improvise alinefollowingthe

The controlledcontortionsofHorne’smouthandtherestrained rageemanatingfromher Dyer (2011:124). Dyer in Dyer (2011). minating discussion of Horne’s mouth and her singing in film, see “Chapter Six: Singing Prettily in Hollywood” the stage. Try to sing with a pretty mouth. You know, like Jeanette MacDonald” (in Vogel 2008:30). For an illu- “Now Miss Horne, not to open your mouth so wide when you sing. Remembertry the screen is different than Horne fromby stages a musical number a that the disembodied is instructions voiceinterrupted directing her: of Horne’sstruction 1981 one-woman show, This and thepoundingbecomesocean’sroar, Garlandsings:andsomuch athousanddrums. more.

—

whether forconsumableprettinessorinterracialsisterhood. Lena Horne: The Lady and Her Music, Shane Vogel recounts how Monstrous. And desired. There are times The 36

impossible! this?” ...Anyway, butit’s pretty whenyousing, like barely audible]bealittle into asmallknot, herwords sort of[ he said, “Can’t youjust don’t lookattractive,” and movies becauseyoujust difficult tobookyouin “I mayfinditalittle Hollywood California to came had anagentwhenIfirst to “sing pretty” ’causeI listen, foryears, Itried to. [...] And youknow, arrangements wesing as longtosomeofthese big breath, youcan’tlast mouth wideandgeta unless youjustopenyour first ofall, firstofall, [laughter] Well, Imean know it. And Ihateit. HORNE: Iknowit. I the world. girl singerbesidesmein sing louderthananyother You openyourmouthand I lovetoworkwithyou. GARLAND: Iknowwhy pursing herlips

35 —

h said who bodies in ­

—

In ­ Lena Horne and Judy Garland 117

38 She 37 signals ­ —

integrationist informing the

— —

22, 2 (65):1–9. 22, Obscura Camera its gravelly timbre and improvised content timbre and improvised its gravelly

—

. The sound of revolution. The summon- The sound of revolution. a thousand drums. . New York: Vintage. Vintage. . New York: Feminism and Black Blues Legacies In this moment, her performance pronounces the future direction of the civil future direction of the pronounces the her performance In this moment,

affective register of Horne’s performance presages the more explicitly radical demands for civil rights that that rights civil for demands radical explicitly more the performance presages Horne’s of register affective Garland’s presumptions of intimacy, a studio audience’s polite applause Garland’s presumptions of intimacy,

The Equality’s Racial on Congress the or in Goddam” “Mississippi Simone’s Nina in year following the emerged and ideologies the of favor in demands integration and practices non-violence on back roll to decision (CORE) (2013). Redmond see context this within music Simone’s of analysis insightful an For Power. Black of approaches Dy merely and distance middle into the looks anyone, address to seem doesn’t “Horne 1950s: and 1940s the ing remoteness” and withdrawal as sophistication of perception a enabling all comes, applause when head her droops (2011:141). . Hanover, NH: University Press of New England. Hanover, Latinidad. Lindeborg, H. and Ruth Manthia Diawara, Jr., Baker, A. Houston eds., A Reader, Studies: British Cultural Press. Chicago: University of Chicago 61–86. Verso. New York: African America. Throughout the duet, Horne’s body, in marked contrast to Garland’s, never shifts toward never shifts toward contrast to Garland’s, in marked body, Horne’s the duet, Throughout

37. dur- appearances film her in distance” “middle the on focus her directing of tactic observeser Horne’s 38. References of Representations Transcultural Tropicalizations: 1997. and Susana Chavez-Silverman. Frances R. Aparicio, London: Routledge. . The Location of Culture 1994. Homi. Bhabha, 1:176–97. Callaloo 34, Play.” Triple “Nina Simone’s 2011. Daphne. Brooks, London: Routledge. of Identity. and the Subversion Feminism Trouble: Gender 1990. Judith. Butler, London: Routledge. Limits of Sex. Bodies that Matter: On the Discursive 1993. Judith. Butler, NC: Duke University Press. Durham, Diva. 1999. Rafael. Campo, In Black and the Boundaries of Sisterhood.” Women Listen! Black Woman “White 1996. V. Hazel Carby, Britain and Black in Babylon: In Cultures Blues.” Women’s “The Sexual Politics of 1999. V. Hazel Carby, 1998. Angela. Davis, “Introduction: There’s Something About 2007. Mary.” Alexander. Doty, . Horne’s words are a proclamation, not of love or not of are a proclamation, words Horne’s . it comes here with a growl: Yeah, Horne follows her voice Here, but of war. submission, present and instead sets her sights on She refuses to integrate. Horne looks beyond the liberalist framing of equality She refuses to integrate. terms, desire may at last let loose its reins. where black female a clearing, ing of a future, directs her gaze, eyes narrowed and flaring, on the horizon just beyond the liberalist applause on the horizon narrowed and flaring, eyes directs her gaze, ...and another possible audience. gesturing toward this present moment, beyond of the studio, with the steeled postures While she restrains her body in alignment the pounding becomes... with its temporal dislocation from the distanced focus of her gaze, of direct action protesters, rights movement. in the civil of protest” “choreographies beckons toward future the present, a temporal shift. a temporal rights movement from nonviolent demonstrations to more radical action, from consciously from consciously more radical action, demonstrations to from nonviolent rights movement armament. poses to gestures of restrained an incipient nationalist desire for a performs like her growl, Her posture, a relational position. racial harmony comes at the relational possibilities in which “harmonious” radical break from even in the rare moments she turns She remains in a frontal stance direction of white authority. In some ways, toward Horne. standing unsteadily in a grasping profile her head toward Garland divas who direct themselves is not unlike the theatrical pose of many this full-front position on the studio audience in her but Horne is not focused adoring audiences, entirely toward their in her subtle but clear refusal of she make an effort to receive their applause Nor does delivery. focuses not on Garland nor the Horne cross downstage for a final bow. Garland’s gestures to on an elsewhere. them, but on a middle distance beyond the camera, studio audience nor Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00417 by guest on 27September 2021

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