"I want to sing like Aretha Franklin. Before her I wanted the technical ability of Ella Fitzgerald"
About this Quote
Ambition, in Lena Horne's mouth, is never abstract. It is pointed at two Black women who rewrote what “great” could sound like in America, and it’s framed as desire rather than entitlement: I want. Horne isn’t claiming lineage so much as confessing a hunger - and in that hunger you can hear the stakes of her era. As an actress and singer working through segregated stages and Hollywood’s tight little boxes, she was constantly asked to be palatable. Naming Aretha Franklin and Ella Fitzgerald is a refusal to let “acceptable” be the measure.
The pivot between the two icons is the tell. Ella stands for mastery: technique so clean it feels inevitable. Wanting her “technical ability” is a young performer’s wish, the kind you make when you’re trying to earn legitimacy in rooms that are waiting for you to slip. Aretha, by contrast, is not just a voice but a force - church heat, secular swagger, the sound of feeling taking command. “Sing like Aretha” isn’t a technical request; it’s a bid for authority, for emotional truth that can’t be polite.
The subtext is evolution: Horne admiring the old-school proof of excellence, then reaching for something freer and more confrontational as the culture changes around her. Coming from someone often celebrated for elegance, the line quietly undercuts the idea that polish is the endpoint. It’s a map of Black performance in the 20th century: from virtuosity as armor to expressiveness as power.
The pivot between the two icons is the tell. Ella stands for mastery: technique so clean it feels inevitable. Wanting her “technical ability” is a young performer’s wish, the kind you make when you’re trying to earn legitimacy in rooms that are waiting for you to slip. Aretha, by contrast, is not just a voice but a force - church heat, secular swagger, the sound of feeling taking command. “Sing like Aretha” isn’t a technical request; it’s a bid for authority, for emotional truth that can’t be polite.
The subtext is evolution: Horne admiring the old-school proof of excellence, then reaching for something freer and more confrontational as the culture changes around her. Coming from someone often celebrated for elegance, the line quietly undercuts the idea that polish is the endpoint. It’s a map of Black performance in the 20th century: from virtuosity as armor to expressiveness as power.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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