Billie Holiday
In late 1937, Holiday had a brief stint as a big-band vocalist with Count Basie. The traveling conditions of the band were often poor; they performed many one-nighters in clubs, moving from city to city with little stability. Holiday chose the songs she sang and had a hand in the arrangements, choosing to portray her developing persona of a woman unlucky in love.

Billie Holiday
For her performance of "Strange Fruit" at the Café Society, she had waiters silence the crowd when the song began. During the song's long introduction, the lights dimmed and all movement had to cease. As Holiday began singing, only a small spotlight illuminated her face. On the final note, all lights went out, and when they came back on, Holiday was gone. Holiday said her father, Clarence Holiday, was denied medical treatment for a fatal lung disorder because of racial prejudice, and that singing "Strange Fruit" reminded her of the incident. "It reminds me of how Pop died, but I have to keep singing it, not only because people ask for it, but because twenty years after Pop died the things that killed him are still happening in the South", she wrote in her autobiography.

Billie Holiday
This association placed her among the first black women to work with a white orchestra, an unusual arrangement at that time. This was also the first time a black female singer employed full-time toured the segregated U.S. South with a white bandleader. In situations where there was a lot of racial tension, Shaw was known to stick up for his vocalist. In her autobiography, Holiday describes an incident in which she was not permitted to sit on the bandstand with other vocalists because she was black. Shaw said to her, "I want you on the band stand like Helen Forrest, Tony Pastor and everyone else." When touring the South, Holiday would sometimes be heckled by members of the audience. In Louisville, Kentucky, a man called her a "nigger wench" and requested she sing another song. Holiday lost her temper and had to be escorted off the stage.

Title
Holiday found herself in direct competition with the popular singer Ella Fitzgerald. The two later became friends. Fitzgerald was the vocalist for the Chick Webb Band, which was in competition with the Basie band. On January 16, 1938, the same day that Benny Goodman performed his legendary Carnegie Hall jazz concert, the Basie and Webb bands had a battle at the Savoy Ballroom. Webb and Fitzgerald were declared winners by Metronome magazine, while DownBeat magazine pronounced Holiday and Basie the winners. Fitzgerald won a straw poll of the audience by a three-to-one margin. By February 1938, Holiday was no longer singing for Basie. Various reasons have been given for her firing.

Billie Holiday
By March 1938, Shaw and Holiday had been broadcast on New York City's powerful radio station WABC (the original WABC, now WCBS). Because of their success, they were given an extra time slot to broadcast in April, which increased their exposure. The New York Amsterdam News reviewed the broadcasts and reported an improvement in Holiday's performance.

Billie Holiday
They were a team from 1929 to 1931, performing at clubs such as the Grey Dawn, Pod's and Jerry's on 133rd Street, and the Brooklyn Elks' Club. Benny Goodman recalled hearing Holiday in 1931 at the Bright Spot. As her reputation grew, she played in many clubs, including the Mexico's and the Alhambra Bar and Grill, where she met Charles Linton, a vocalist who later worked with Chick Webb. It was also during this period that she connected with her father, who was playing in Fletcher Henderson's band. Late in 1932, 17-year-old Holiday replaced the singer Monette Moore at Covan's, a club on West 132nd Street. Producer John Hammond, who loved Moore's singing and had come to hear her, first heard Holiday there in early 1933.

Billie Holiday
Eleanora Fagan[2][3] was born on April 7, 1915,[4] in Philadelphia, being the daughter of African-American unwed teenage couple Sarah Julia "Sadie" Fagan and Clarence Holiday. Sarah moved to Philadelphia at age 19,[5] after she was evicted from her parents' home in the Sandtown-Winchester neighborhood of Baltimore, Maryland, for becoming pregnant. With no support from her parents, she made arrangements with her older, married half-sister, Eva Miller, for Eleanora to stay with her in Baltimore. Not long after Eleanora was born, Clarence abandoned his family to pursue a career as a jazz banjo player and guitarist Some historians have disputed Holiday's paternity, as a copy of her birth certificate in the Baltimore archives lists her father as "Frank DeViese." Other historians consider this an anomaly, probably inserted by a hospital or government worker.

Billie Holiday
On December 24, 1926, Sadie came home to discover a neighbor, Wilbur Rich, attempting to rape Eleanora. She successfully fought back, and Rich was arrested. Officials placed Eleanora in the House of the Good Shepherd under protective custody as a state witness in the rape case. Holiday was released in February 1927, when she was nearly 12. She found a job running errands in a brothel, and she scrubbed marble steps as well as kitchen and bathroom floors of neighborhood homes. Around this time, she first heard the records of Louis Armstrong and Bessie Smith. In particular, Holiday cited "West End Blues" as an intriguing influence, pointing specifically to the scat section duet with the clarinet as her favorite part. By the end of 1928, Holiday's mother moved to Harlem, New York, again leaving Eleanora with Martha Miller.

Billie Holiday
Some of the songs Holiday performed with Basie were recorded. "I Can't Get Started", "They Can't Take That Away from Me", and "Swing It Brother Swing" are all commercially available. Holiday was unable to record in the studio with Basie, but she included many of his musicians in her recording sessions with Teddy Wilson.

Billie Holiday
Hammond said the Wilson-Holiday records from 1935 to 1938 were a great asset to Brunswick. According to Hammond, Brunswick was broke and unable to record many jazz tunes. Wilson, Holiday, Young, and other musicians came into the studio without written arrangements, reducing the recording cost. Brunswick paid Holiday a flat fee rather than royalties, which saved the company money. "I Cried for You" sold 15,000 copies, which Hammond called "a giant hit for Brunswick.... Most records that made money sold around three to four thousand." Another frequent accompanist was tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a rapport. Young said, "I think you can hear that on some of the old records, you know. Some time I'd sit down and listen to 'em myself, and it sound like two of the same voices ... or the same mind, or something like that." Young nicknamed her "Lady Day", and she called him "Prez".

Billie Holiday
She signed a recording contract with Brunswick in 1935. Collaborations with Teddy Wilson yielded the hit "What a Little Moonlight Can Do", which became a jazz standard. Throughout the 1930s and 1940s, Holiday had mainstream success on labels such as Columbia and Decca. By the late 1940s, however, she was beset with legal troubles and drug abuse. After a short prison sentence, she performed at a sold-out concert at Carnegie Hall, but her reputation deteriorated because of her drug and alcohol problems. She was a successful concert performer throughout the 1950s with two further sold-out shows at Carnegie Hall. Because of personal struggles and an altered voice, her final recordings were met with mixed reaction but were mild commercial successes. Her final album, Lady in Satin, was released in 1958.

Billie Holiday
Her tunes included "I Must Have That Man", "Travelin' All Alone", "I Can't Get Started", and "Summertime", a hit for Holiday in 1936, originating in George Gershwin's Porgy and Bess the year before. Basie became used to Holiday's heavy involvement in the band. He said, "When she rehearsed with the band, it was really just a matter of getting her tunes like she wanted them, because she knew how she wanted to sound and you couldn't tell her what to do."

Billie Holiday
According to All Music Guide, Holiday was fired for being "temperamental and unreliable". She complained of low pay and poor working conditions and may have refused to sing the songs requested of her or change her style. Holiday was hired by Artie Shaw a month after being fired from the Count Basie Band.

Billie Holiday
In 1935, Holiday was signed to Brunswick by John Hammond to record pop tunes with pianist Teddy Wilson in the swing style for the growing jukebox trade. They were allowed to improvise the material. Holiday's improvisation of melody to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do" and "Miss Brown to You". "What a Little Moonlight Can Do" has been deemed her "claim to fame".

Billie Holiday
She is the primary character in the play Lady Day at Emerson's Bar and Grill; the role was originated by Reenie Upchurch in 1986 and was played by Audra McDonald on Broadway and in the film. In 2017, Holiday was inducted into the National Rhythm & Blues Hall of Fame.

Billie Holiday
Eleanora grew up in Baltimore and had a very difficult childhood. Her mother often took what were then known as "transportation jobs," serving on passenger railroads.[8] Holiday was raised largely by Eva Miller's mother-in-law, Martha Miller, and suffered from her mother's absences and being in others' care for her first decade of life.

Billie Holiday
Holiday was in the middle of recording for Columbia in the late 1930s when she was introduced to "Strange Fruit", a song based on a poem about lynching written by Abel Meeropol, a Jewish schoolteacher from the Bronx. Meeropol used the pseudonym "Lewis Allan" for the poem, which was set to music and performed at teachers' union meetings. It was eventually heard by Barney Josephson, the proprietor of Café Society, an integrated nightclub in Greenwich Village, who introduced it to Holiday. She performed it at the club in 1939, with some trepidation, fearing possible retaliation. She later said that the imagery of the song reminded her of her father's death and that this played a role in her resistance to performing it.

Billie Holiday
Holiday's autobiography, Lady Sings the Blues, published in 1956, is sketchy on details of her early life, but much was confirmed by Stuart Nicholson in his 1995 biography of the singer. After attending kindergarten at St. Frances Academy, she frequently skipped school, and her truancy resulted in her being brought before the juvenile court on January 5, 1925, when she was nine years old.

Billie Holiday
As a young teenager, Holiday started singing in nightclubs in Harlem. She took her professional pseudonym from Billie Dove, an actress she admired, and Clarence Holiday, her probable father. At the outset of her career, she spelled her last name "Halliday", her father's birth surname, but eventually changed it to "Holiday", his performing name. The young singer teamed up with a neighbor, tenor saxophone player Kenneth Hollan.

Billie Holiday
By early 1929, Holiday had joined her mother in Harlem. Their landlady was a sharply-dressed woman named Florence Williams, who ran a brothel at 151 West 140th Street. Holiday's mother became a prostitute, and within a matter of days of arriving in New York, Holiday, not yet 14, became a victim of sexual trafficking at $5 per client. The house was raided on May 2, 1929, and Holiday and her mother were sent to prison.

Billie Holiday

Eleanora Fagan (April 7, 1915 – July 17, 1959)

Billie Holiday 002

Billie Holiday 003

Billie Holiday 004

Billie Holiday 001

Billie Holiday 006

Billie Holiday 008

Billie Holiday 009

Billie Holiday 007

Billie Holiday 013

Billie Holiday 015

Billie Holiday 014

Billie Holiday 012

Billie Holiday 020

Billie Holiday 018

Billie Holiday 021

Billie Holiday 019

Billie Holiday 011

Billie Holiday 022

Billie Holiday 005

Billie Holiday 010

Billie Holiday 028

Billie Holiday 026

Billie Holiday 034

Billie Holiday 025

Billie Holiday 023

Billie Holiday 031

Billie Holiday 029

Billie Holiday 032

Billie Holiday 037

Billie Holiday 017

Billie Holiday 030

Billie Holiday 016

Billie Holiday 027

Billie Holiday 024

Billie Holiday 040

Billie Holiday 042

Billie Holiday 039

Introducing the Billie Holiday Collection:

Unleash Your Inner Jazz Diva!

Are you ready to immerse yourself in the soulful melodies of the legendary Billie Holiday? Imagine wearing a shirt that not only captures the essence of this iconic jazz vocalist but also plays a personalized video right on your chest. Experience the power of music like never before with the revolutionary technology embedded within each garment, created by Merchandise By Dizazta.

Billie Holiday, the incomparable Lady Day, left an indelible mark on the world of music. With her soul-stirring voice and poignant storytelling, she touched the hearts of millions. Now, you have the chance to carry her legacy with you wherever you go.

By owning a custom video embedded T-shirt from the Billie Holiday Collection, you'll not only showcase a design of your choice but also immerse yourself in the heartfelt performances of this jazz icon. Witness the magic of Billie Holiday's live footage on Dizazta TV, exclusively available on Roku. Feel the emotions, the pain, and the triumphs she poured into her music.

Visit merchandisebydizazta.com to explore the Billie Holiday Collection and discover thousands of other unique designs. Don't miss out on this limited-time offer that includes a five-day free trial for Dizazta TV on Roku, where you can witness the captivating live footage of Billie Holiday and other jazz legends.

To elevate your musical journey, download the free Dizazta Area Radio app on iTunes and Google Play. Immerse yourself in a world of jazz, rhythm, and soul wherever you go.

Join us in revolutionizing the game when it comes to video T-shirts. Be one of the first to own a custom video embedded T-shirt of the incomparable Billie Holiday. Embrace the power of her music and pay tribute to a true jazz diva.

Get ready to wear your passion,

feel the music, and let the melodies move your soul.

Billie Holiday

Billie Holiday

Billie Holiday

Title

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday

Billie Holiday 002

Billie Holiday 003

Billie Holiday 004

Billie Holiday 001

Billie Holiday 006

Billie Holiday 008

Billie Holiday 009

Billie Holiday 007

Billie Holiday 013

Billie Holiday 015

Billie Holiday 014

Billie Holiday 012

Billie Holiday 020

Billie Holiday 018

Billie Holiday 021

Billie Holiday 019

Billie Holiday 011

Billie Holiday 022

Billie Holiday 005

Billie Holiday 010

Billie Holiday 028

Billie Holiday 026

Billie Holiday 034

Billie Holiday 025

Billie Holiday 023

Billie Holiday 031

Billie Holiday 029

Billie Holiday 032

Billie Holiday 037

Billie Holiday 017

Billie Holiday 030

Billie Holiday 016

Billie Holiday 027

Billie Holiday 024

Billie Holiday 040

Billie Holiday 042

Billie Holiday 039

Introducing the Billie Holiday Collection:

Unleash Your Inner Jazz Diva!

Get ready to wear your passion,

feel the music, and let the melodies move your soul.