"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

. 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

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