Billie Holiday

Biography

"lady Day" brought itself in the early dte rodent age in Baltimore, Maryland, where her buildup, before she went to 1929 to New York, singing. Despite fair efforts of researchers to represent their career arranged inaccurate facts, mythische elements and exaggerations smeared the picture of these coining/shaping years. A detailed and reliable representation of these years is only available since the appearance of the book of Stuart Nicholson, investigated perfectly, in the year 1995. Nicholsons investigations show that some statements of the singer in their Autobiografie "lady sing to The Blues" from 1956 were true, which had been dismissed of other writers than exaggeration. Holidays parents, Sadie Harris (alias Fagan) and Clarence Holiday, the probable father, both with their birth still dte rodents, probably never married, and it is improbable that they lived together for longer time. Clarence Holiday, a banjo and guitar player, is mainly well-known for its co-operation with the Fletcher Henderson's volume in the early 30's-years. It remains however a kind shade figure, which left its daughter of the welfare service of Fagan or other relatives. As musicians and a member in volume were Holiday route-end into the late 20ern often on the way, and during its work with the Fletcher Henderson's volume, which persisted until 1932, broke the guitarist the connection off to the Fagans. Billie could not be shaken off however so easily. It pulled to its nut/mother into New Yorker district the Harlem, and as the rent for their dwelling, placed it was once overdue to Clarence in the rose country Ballroom, where the Henderson's volume gastierte longer, to the speech and forced it money off, by threatening it to disgrace it publicly. Fragments and particularly early life history pursued coined/shaped by information about Holidays of social disadvantage, to cruel utilization by the pitch prove that she had already learned with 15 or 16, in large poverty to survive with racial prejudices and in the unfairness of the black Ghetto life. In addition they point to a more influential relationship between father and daughter (it to have also been so sporadic likes), when Holiday had represented it in printed form. Clarence Holiday, an extremely competent guitarist and admits time "Jazzrhythmen for" Good, seemed to be surrounded by contradictions. While the 30's-years and even after nearly unnoticed death Holidays became 1937 in anthologies, which contained music criticisms and personal lists, which way of writing Haliday or Halliday uses. It is proven that Billie used this name occasionally, until she was persuaded to appear vocationally as Billie Holiday. The interest of the jazz historians lies to find a connection between the fine and loose rhythm feeling of their father and their own amazing controlling from time and Swing to: relaxed Swing, which did not have to be heard so before ever. Since Holiday had hardly school knowledge and no musical training, are to be attributed its particularly creative talent primarily to their intuition. It developed its singing style in generic term cures of New Yorker Spelunken and Harlemer night clubs. Many theorizing does not contribute however also to understand their apparently instinktives music talent completely. It was in their kind a Perfektionistin, relied on their excellent hearing, their natural good taste and honest Pragmatismus, in order to adjust artistically their quiet voice and its being correct extent. This unit of sound and style of their voice is the more astonishing due to their childhood coined/shaped by uncertainty and ugly brutality. It had already survived a rape and the following time in treatment at the age of 11 years. In New York she worked as a prostitute and for it together with their nut/mother 1929 was briefly arrested. As punishment she served 100 days in the poorhouse on Blackwell's Iceland at the East River (later also Welfare Iceland called). Their career experienced an upswing, when it won a 1-woechige employment at the Apollo Theatre, Harlems most famous and house for maintenance, impression-fullest for rising artists. The then straight 20-year old Holiday arose with the pianist Bobbie Henderson, and the criticisms were not sharp at best too. Obviously their loose came, apparently carrier Behind the Beat style with that often reads public of the Apollo Theatre not on. When it presented its Show in the second week, this time with Ralph Cooper's Orchestra, improved the criticisms however owing to its adjustment ability. At this time Holiday had committed itself to the way of writing of its name (its first name, Eleanora, had been already changed). In the middle of July was a singer again for from Hammond organized and returned from teddy Wilson led session to the Aufnahmestudio. In Wilson, an experienced musician and projecting seed, Holiday had found pianists the suitable partner, in order to be able to unfold their abilities full. The four songs selected for this innovative admission were above average - "I Wished on The Moon" and "measure Brown ton of You" were sound TRACKS and the loose Jam session atmosphere matched perfectly Holiday. It entered on Wilsons great company as well as its Solos, with brilliant musicians such as Goodman, Roy Eldridge and Ben Webster and other Jazzkoriphaeen in the photographs following on it. Those again seemed to be spurred by their rhythmic confidence and innovative magic singing. Here a rising star (since 10 July 1936 stood their own name on the Vocalion record label) was, that could enrich usual Popsongs with the emotional Kick of a first-class Blues or Balladen composition. The photographs played also enough in, in order to place the marketing managers contently. During the appearances at some somewhat more lifted places of event than so far, following on it, Holiday with volume of COUNTS the Basie (1937-38) and Artie Shaw sang (1938). She experienced however unpleasant incidents with racingists, particularly in the "Jim Crow" Southern States, and still separated before end of the yearly from Shaw. It should be their last appearance as a member volume: From now on it would be marketed as a solo artist. It produced further plates, and for them the most meaning were probably together with Wilson, her loved Lester Young and Trompeter Buck Clayton the taken up albums. In addition is one itself united that the inspiring - musical and emotional - solidarity between Holiday and Young energized it to the best singing interpretations of its life. These and further between 1935 and 1942 produced plates belong certainly to the Crème de la Crème of the jazz. At the beginning of of 1939 went to Holidays career steeply upward. It cost their fame for the first time in the Café Society ("Caf"), which with the slogan "The wrong place for the right people" ("the wrong place for the correct people") recruited. Holiday gastierte there nearly nine months, in which she arose to a protest written by Abel Merropol with the song poem "strand Fruit", against lynching. Merropol was a white Jewish teacher, who used the alias Lewis Allan. The song became a giant hit and provided Holiday as Interpretin socially important Balladen new and international fame. Since the jazz developed itself further in the 40's and 50's-years, Holiday unfortunately unklugerweise reacted positively to some these changes in the musical and social climate. Already a Trinkerin, a tobacco and a Marihuanaraucherin, a Esserin and a Konsumentin with one as "more than healthy" described sexual appetite, fit it exactly into the hard drug culture of the 40's-years. It did not have difficult dear relations, for it anything new, married on 25 August 1941 however Jimmy Monroe. This connection makes its situation however not easier, a unfortunate marriage, which became divorced 1957. Nobody knows, when exactly and by whom Holiday was only enticed to the Opium and then to heroin. The details are unimportant, the craze impaired their singing first not, although its behavior became ever more incalculable, and it finally the call had to be unverlaesslich. At the end she made money, it was called correct up to $1.000 weekly. Half of their the MC needed it, in order to finance their "dependence". Nevertheless she had attained the acknowledgment, for which she had longed herself in such a way now in the public. In the first inquiry of the magazine Esquire (1943) the critics selected it to the best singer forwards mild-talk Bailey on second and Ella Fitzgerald at the third place. At this time Holiday suffered regularly from depressions, by pain and illness was troubled. 1947 were condemned it to a longer stay in the penal establishment Federal Reformatory in west Virginia. The accusation was surprisingly on go-eats their manager, Joe glazier, raised. The publicity resulting from it destroyed it self-confident its, and the drugs weakened gradually their body. The costs of its own Big volume with married man Joe Guy in the year 1945 amounted to $35.000, and on this impact still the death of their nut/mother followed. A further disappointment for Holidays career was their failure to secure itself it offered role in the jazz film new Orleans (1946) on which it had made itself hopes. Both Holiday and its Idol Armstrong had roles, which were based to the majority on music - much was cut out. But the alleged jazz Story turned out as unreasonable Fantasiegeschichte. Thus not badly enough: Holiday and Armstrong were represented as officials. The film was a Flop, brought her however valuable international publicity and jazz fan was inspired, segments with Holiday, Armstrong, Kid Ory, to see and hear Woody Herman and further musicians. For Holiday the retreat from the film business was certain. Starting from the 50's-years Holiday and problems seemed to be inseparable. Due to its previous convictions for the possession of drugs Holiday lost their permission in kabaretts to arise. It was not allowed to arise anywhere, where alcohol was poured out, and New Yorker night club was therefore for it taboo. In addition in its eyes this prohibition was more than unfair and reduced the incomes, which it could have obtained with appearances outside of new Yorks. In the year 1954 it arose in England, where it was cheered, and 1956 help their frank Biografie (written with William Duffy) Holiday to still larger success, or sad celebrity. 1957 earned Holiday still much money, but in the year following on it alcohol and drugs affected their voice considerably. The "hoarse eloquente voice" had become expense the expense of the Eloquenz always hoarse. Billie Holiday traveled end of the yearly 1958 a second and last mark to Europe. She came to London, in order to arise in February 1959 into the Fernsehshow Granada's Chelsea RK Nine. Again back in America their state of health worsened, and at the end of of May was in-supplied it because of a heart and a liver suffering to the hospital. The police a thorn in the eye (it had been already arrested two times, 1949 and 1956, because of drug possession) it was still arrested there in your private room, accused of drug possession and guarded with the police - the last cruelty, which could cause the system to her. One of the bedeutesten jazz singers died in such a way on 17 July 1959 at 3:10 o'clock under shaming circumstances: $750 in notes was at their leg stuck - an advance for a series from articles already promised. At the end it came even to disputes between a practically appointed attorney and its second married man, Louis McKay, which it had married on 28 March 1957. She unfortunately did not experience no more the tide at books, Biografien, critical work, Essais, Plattenbooklets, Diskografien, entries in reference books, chapters in countless jazz books, film and television documentations, which exceeded any form from acknowledgment to Holidays lifetimes by far. Billie Holidays use of clay/tone variation and Vibrato, their talent to the jazz Phrasierung as well as its singular Herangehensweise represented to their limited being correct extent to the defiance to Popsong texts only some the components in the life of a true artist. Their clear diction, their method to manipulate the situation, their musical talent, which variety their tendency, which itself in joyful, even kokettem optimism up to rauen, stubborn, proud, disillusion and lively jazz reflect, be not from the air seize, but innate. Holiday followed its obligations in a difficult environment. The fact that it survived at all is incomprehensible; the fact that it should become the most important jazz singer of all times, practically without predecessors or successors, borders on a miracle. She could be never dreamed that she is admired today at places, whose doors remained locked it during lifetimes. Unfortunately it would not have surprised that. Because it had already written in their Biografie: "nothing is like the condemned Show Business. You had to smile constant not to hand over around you."