text:
Billie Holiday (born Eleanora Fagan[1][2] April 7, 1915 – July 17, 1959) was an African American jazz singer and songwriter. Nicknamed "Lady Day" by her friend and musical partner Lester Young, Holiday had a seminal influence on jazz and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo.
Critic John Bush wrote that Holiday "changed the art of American pop vocals forever."[3] She co-wrote only a few songs, but several of them have become jazz standards, notably "God Bless the Child", "Don't Explain", "Fine and Mellow", and "Lady Sings the Blues". She also became famous for singing "Easy Living", "Good Morning Heartache", and "Strange Fruit", a protest song which became one of her standards and was made famous with her 1939 recording. Music critic Robert Christgau called her "uncoverable, possibly the greatest singer of the century".[4]
Early life and education Edit
Billie Holiday was born as Eleanora Fagan, on April 7, 1915, in Philadelphia, Pennsylvania, to Sarah Julia "Sadie" Fagan. Her father, Clarence Holiday, a musician, did not marry or live with her mother. Fagan had moved to Philadelphia at the age of nineteen,[5] after being rejected from her parents' home in Sandtown-Winchester, Baltimore for becoming pregnant. With no support from her own parents, Holiday's mother arranged for the young Holiday to stay with her older married half sister, Eva Miller, who lived in Baltimore. Holiday was of African American ancestry, she is also said to have had Irish ancestors through her mother's possible mixed heritage.
Billie Holiday had a difficult childhood. Her mother often took what were then known as "transportation jobs", serving on the passenger railroads. Holiday was left to be raised largely by Eva Miller's mother-in-law, Martha Miller, and suffered from her mother's absences and leaving her in others' care for much of the first ten years of her life.[6] (Holiday's autobiography, Lady Sings the Blues, first published in 1956, was sketchy about details of her early life, but much was confirmed by Stuart Nicholson in his 1995 biography of the singer.)
Some historians have disputed Holiday's paternity, as a copy of her birth certificate in the Baltimore archives lists the father as "Frank DeViese". Other historians consider this an anomaly, probably inserted by a hospital or government worker.[7] Frank DeViese lived in Philadelphia and Sadie Harris may have known him through her work.
Sadie Harris, then known as Sadie Fagan, married Philip Gough, but the marriage was over in two years. Holiday was left with Martha Miller again while her mother took further transportation jobs.[8] Holiday frequently skipped school and her truancy resulted in her being brought before the juvenile court on January 5, 1925 when she was not yet 10. She was sent to The House of the Good Shepherd, a Catholic reform school. She was baptized there on March 19, 1925 and after nine months in care, was "paroled" on October 3, 1925 to her mother, who had opened a restaurant called the East Side Grill, where she and Holiday worked long hours. By the age of 11, the girl had dropped out of school.[9]
Rape and prostitutionEdit
Holiday's mother returned to their home on December 24, 1926, to discover a neighbor, Wilbur Rich, raping Holiday. Rich was arrested. Officials placed the girl at the House of the Good Shepherd in protective custody as a state witness in the rape case.[10] Holiday was released in February 1927, nearly twelve. She found a job running errands in a brothel.[11] During this time, Holiday first heard the records of Louis Armstrong and Bessie Smith. By the end of 1928, Holiday's mother decided to try her luck in Harlem, New York and left Holiday again with Martha Miller.[12]
By early 1929, Holiday 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, who had not yet turned fourteen, also became a prostitute for $5 a time.[13] On May 2, 1929, the house was raided, and Holiday and her mother were sent to prison. After spending some time in a workhouse, her mother was released in July, followed by Holiday in October, at the age of 14.
Early singing careerEdit
In Harlem she started singing in various night clubs. Holiday took her professional pseudonym from Billie Dove, an actress she admired, and the musician Clarence Holiday, her probable father.[14] At the outset of her career, she spelled her last name "Halliday," the birth-surname of her father, but eventually changed it to "Holiday," his performing name. The young singer teamed up with a neighbor, tenor sax player Kenneth Hollan. From 1929 to 1931, they were a team, performing at clubs such as the Grey Dawn, Pod's and Jerry's, and the Brooklyn Elks' Club.[15][16] Benny Goodman recalled hearing Holiday in 1931 at The Bright Spot. As her reputation grew, Holiday played at many clubs, including Mexico's and The Alhambra Bar and Grill where Charles Linton, a vocalist who later worked with Chick Webb, first met her. It was also during this period that she connected with her father, who was playing with Fletcher Henderson's band.[17]
By the end of 1932 at the age of 17, Billie Holiday replaced the singer Monette Moore at a club called Covan's on West 132nd Street. The producer John Hammond, who loved Monette Moore's singing and had come to hear her, first heard Holiday in early 1933.[18] Hammond arranged for Holiday to make her recording debut, at age 18, in November 1933 with Benny Goodman, singing two songs: "Your Mother's Son-In-Law" and "Riffin' the Scotch," the latter being her first hit. "Son-in-Law" sold 300 copies,[19] but "Riffin' the Scotch," released on November 11, sold 5,000 copies. Hammond was quite impressed by Holiday's singing style. He said of her, "Her singing almost changed my music tastes and my musical life, because she was the first girl singer I'd come across who actually sang like an improvising jazz genius." Hammond compared Holiday favorably to Armstrong and said she had a good sense of lyric content at her young age.[20]
In 1935, Billie Holiday had a small role as a woman being abused by her lover in Duke Ellington's short Symphony in Black: A Rhapsody of Negro Life. In her scene, she sang the song "Saddest Tale."[21]
Recordings with Teddy Wilson (1935–1938)Edit
Holiday was signed to Brunswick Records by John Hammond to record current pop tunes with Teddy Wilson in the new "swing" style for the growing jukebox trade. They were given free rein to improvise the material. Holiday's improvisation of the melody line to fit the emotion was revolutionary. Their first collaboration included "What a Little Moonlight Can Do," and "Miss Brown to You." The record label did not favor the recording session, because producers wanted Holiday to sound more like Cleo Brown. After "What a Little Moonlight Can Do" garnered success, however, the company began considering Holiday an artist in her own right.[22] She began recording under her own name a year later (on the 35 cent Vocalion label), producing a series of extraordinary performances with groups comprising the swing era's finest musicians.[23]
With their arrangements, Wilson and Holiday took pedestrian pop tunes, such as "Twenty-Four Hours a Day" (#6 Pop) or "Yankee Doodle Never Went To Town", and turned them into jazz classics. Most of Holiday's recordings with Wilson or under her own name during the 1930s and early 1940s are regarded as important parts of the jazz vocal library. She was then in her early to late 20s.
Another frequent accompanist was the tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a special rapport. He said,
"Well, 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, if you don't be careful, you know, or the same mind, or something like that."[24]Young nicknamed her "Lady Day", and she, in turn, dubbed him "Prez".
Hammond spoke about the commercial impact of the Teddy Wilson-Billie Holiday sides from 1935 to 1938, calling them a great asset to Brunswick. The record label, according to Hammond, was broke and unable to record many jazz tunes. Because Wilson, Holiday, Lester Young, and other musicians came into the studio without any arrangements, which cost money, and improvised the material as they went along, the records they produced were very cheap. Holiday was never given any royalties for her work, instead being paid a flat fee, which saved the record label money. Some of the records produced were largely successful, such as the single "I Cried for You" which sold 15,000 copies. Hammond said of the record, "15,000 ... was a giant hit for Brunswick in those days. I mean a giant hit. Most records that made money sold around three to four thousand." [25]
Working for Count Basie and Artie Shaw (1937–1938)Edit
In late 1937, Holiday had a brief stint as a big band vocalist with Count Basie.[26] The traveling conditions of the band were often poor and included 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 then developing persona of a woman unlucky in love. 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 the opera Porgy and Bess a few years earlier. Count Basie had gotten 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." [27]
Holiday found herself in direct competition with popular singer Ella Fitzgerald, with whom Holiday would later become friends.[28] Fitzgerald was the vocalist for the Chick Webb Band, who were in competition with Count Basie. On January 16, 1938, the same day that Benny Goodman performed his legendary Carnegie Hall jazz concert, the Count Basie and Chick Webb bands had a battle at the Savoy Ballroom. Chick Webb and Fitzgerald were declared winners by Metronome magazine. Down Beat magazine declared Holiday and Basie the winners. A straw poll of the audience saw Fitzgerald win by a three-to-one margin.
Some of the tunes 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.[29] Although Holiday was unable to record in the studio with Count Basie, she did include many of his musicians in her recording dates with Teddy Wilson.
By February of that year, Holiday was no longer singing for Basie. The reason given for her firing varies from person to person. Jimmy Rushing, Basie's male vocalist, called her unprofessional. According to All Music Guide, Holiday was officially fired for being "temperamental and unreliable". Holiday complained of low pay and working conditions and may have refused to sing the tunes requested of her or change her style.[30]
Holiday was hired by Artie Shaw a month after being fired from the Count Basie Band. This association placed her among the first black women to work with a white orchestra, an unusual arrangement for the times. In situations where there was a lot of racial tension, Shaw was known to stick up for his vocalist. Holiday describes one incident in her autobiography where she could not 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." [31] When touring the American 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 needed to be escorted off the stage.[32]
By March 1938, Shaw and Holiday managed to be broadcasted on Radio WABC. Because of their success, they were given an extra time slot to broadcast in April, which increased their exposure. The New York Amsterdam News reported an improvement in Holiday's performance ability while reviewing the broadcasts. Metronome reported that the addition of Holiday to Shaw's band put it in the "top brackets". Holiday could not sing as often during Artie Shaw's shows as she could Basie's. The songs were more instrumental with fewer vocals. Shaw was also pressured to hire a white singer, Nita Bradley, with whom Holiday did not get along but had to share a bandstand. In May 1938, Shaw won band battles against Tommy Dorsey and Red Norvo with the audience favoring Holiday. Although Shaw admired Holiday's singing in his band, saying she had a "remarkable ear" and an "remarkable sense of time", her time in the band was nearing an end.[33]
In November 1938 Holiday was asked to use the service elevator at the Lincoln Hotel, instead of the passage elevator, because white patrons of the hotels complained. This may have been the last straw for her. She left the band shortly after. Holiday spoke about the incident weeks later, saying "I was never allowed to visit the bar or the dining room as did other members of the band ... [and] I was made to leave and enter through the kitchen."
There are no surviving live recordings of Holiday with Artie Shaw's band. Because she was under a separate recording label and possibly because of her race, Holiday was only able to record one record with Shaw, "Any Old Time".
By the late 1930s, Billie Holiday had toured with Count Basie and Artie Shaw, scored a string of radio and retail hits with Teddy Wilson, and became an established artist in the recording industry. Her songs "What A Little Moonlight Can Do" and "Easy Living" were being imitated by singers across America and were quickly becoming jazz standards.[34] In 1938, Holiday's single "I'm Gonna Lock My Heart" ranked 6th as the most-played song for September of that year. Her record label Vocalion listed the single as its fourth best seller for the same month. "I'm Gonna Lock My Heart" peaked at number 2 on the pop charts according to Joel Whitburn's "Pop Memories: 1890–1954" book.[35]
Commodore recordings and mainstream success (1939)Edit
Holiday was 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.[36] It was eventually heard by Barney Josephson, 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. Holiday later said that the imagery in "Strange Fruit" reminded her of her father's death and that this played a role in her resistance to performing it.[37]
When Holiday's producers at Columbia found the subject matter too sensitive, Milt Gabler agreed to record it for his Commodore Records. That was done on April 20, 1939, and "Strange Fruit" remained in her repertoire for twenty years. She later recorded it again for Verve. While the Commodore release did not get any airplay, the controversial song sold well, though Gabler attributed that mostly to the record's other side, "Fine and Mellow", which was a jukebox hit.[38] "The version I did for Commodore," Holiday said of "Strange Fruit", "became my biggest selling record."[citation needed] "Strange Fruit" was the equivalent of a top twenty hit in the 1930s.
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.[39]
Holiday said her father Clarence Holiday was denied treatment for a fatal lung disorder because of 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 said in her autobiography.[40]
Holiday's popularity increased after recording "Strange Fruit". She received a mention in Time magazine.[41] "I open Café Society as an unknown," Holiday said. "I left two years later as a star. I needed the prestige and publicity all right, but you can't pay rent with it." Holiday demanded her manager Joe Glaser give her a raise shortly after.[42]
Holiday soon returned to Commodore in 1944, recording songs she made with Teddy Wilson in the 1930s like "I Cover The Waterfront", "I'll Get By", and "He's Funny That Way". She also recorded new songs that were popular at the time, including, "My Old Flame", "How Am I To Know?", "I'm Yours", and "I'll Be Seeing You", a Bing Crosby number one hit. She also recorded her version of "Embraceable You", which would later be inducted into the Grammy Hall of Fame in 2005.
During her time at Commodore, Billie Holiday also babysat the young Billy Crystal; his father being Jack Crystal and uncle being Milt Gabler, the co-founders of Commodore Records.[43]
Successes (1940–1947)Edit
Holiday's mother Sadie Fagan, nicknamed "The Duchess," started her own restaurant called Mom Holiday's. Fagan used the money her daughter earned while shooting dice with members of the Count Basie band, with whom she was on tour in the late 1930s. "It kept mom busy and happy and stopped her from worrying and watching over me," Holiday said. Soon, Fagan began borrowing large amounts of money from Holiday because the restaurant wasn't turning a profit. Holiday obliged, but soon fell upon hard times herself. "I needed some money one night and I knew Mom was sure to have some," Holiday said. "So I walked in the restaurant like a stockholder and asked. Mom turned me down flat. She wouldn't give me a cent." The two argued and then, Holiday, in a rage, hollered "God bless the child that's got his own," and stormed out of the restaurant. With help from Arthur Herzog, Jr., a pianist, the two wrote a song based on the line "God Bless the Child" and added music.[44]
"God Bless the Child" became Holiday's most popular and covered record. It reached number 25 on the record charts in 1941 and ranked third in Billboard's top songs of the year, selling over a million records.[45][46] In 1976, the song was added to the Grammy Hall of Fame.[47] Herzog later claimed that Holiday contributed little to the lyrics of her music, adding only a few lines. He also stated that Holiday came up with the line "God Bless the Child" from a dinner conversation the two had.[48]
On June 24, 1942, Holiday recorded "Trav'lin Light" with Paul Whiteman. Because she was still under contract with Columbia records, she couldn't release the song under her own name and instead used the pseudonym "Lady Day."[49] The song was a minor success on the pop charts, reaching number 23, but hit number one on the R&B charts, which were called the Harlem Hit Parade at the time.[50]
In September 1943, Life magazine complimented Holiday on her work. They wrote, "she has the most distinct style of any popular vocalist and is imitated by other vocalists."[51]
Milt Gabler eventually became an A&R man for Decca Records, in addition to owning Commodore Records, and he signed Holiday to the label on August 7, 1944, when Holiday was 29.[52] Her first recording for Decca was "Lover Man" (#16 Pop, No. 5 R&B), one of her biggest hits. The success and wide distribution of the song made Holiday a staple in the pop community, allowing her to have her own solo concerts, a rarity for jazz singers in the late 40s. Gabler commented on the song's success, saying, "I made Billie a real pop singer. That was right in her. Billie loved those songs."[53] Jimmy Davis and Roger "Ram" Ramirez, "Lover Man"'s songwriters, tried to get Holiday interested in recording the song in 1941, but she didn't take interest.[54] In 1943, a flamboyant male torch singer by the name of Willie Dukes began singing "Lover Man" on 52nd Street.[55] Because of Duke's success with the song, Holiday decided to add it to her live shows. The song's B-side is "No More", a song Holiday considered one of her favorites.[52]
When it came time to record the song, Holiday begged Gabler for strings, which were associated with big name acts like Frank Sinatra and Ella Fitzgerald, to accompany her in the background. "I went on my knees to him," Holiday said. "I didn't want to do it with the ordinary six pieces. I begged Milt and told him I had to have strings behind me."[56] On October 4, 1944, Holiday walked into the recording studio to record "Lover Man" and saw the string ensemble and walked out. The musical director for the session, Toots Camarata said she was overwhelmed with joy.[56] Another reason for Holiday wanting to use strings may have been to dodge the comparisons made between her commercially successful early work with Teddy Wilson and everything produced afterward. Her 1930s sides with Wilson used a small jazz combo. Her recordings with Decca often involved string ensembles and presented her voice in a new light.[57]
A month later, in November, Billie Holiday returned to the Decca studio to record three songs, "That Ole Devil Called Love", "Big Stuff", and "Don't Explain". Holiday wrote "Don't Explain" after she caught her husband, Jimmy Monroe, with lipstick on his collar.[58]
After the recording session, Holiday did not return to the studio until August 1945. She recorded "Don't Explain" for a second time, changing the lyrics "I know you raise cain" to "Just say you'll remain" and "You mixed with some dame" to "What is there to gain?" Other songs recorded were "Big Stuff", "What Is This Thing Called Love?", and "You Better Go Now". Ella Fitzgerald declared "You Better Go Now" as her favorite Billie Holiday recording.[59] "Big Stuff" and "Don't Explain" were recorded again but with additional strings and a viola.
In 1946, Holiday recorded "Good Morning Heartache". Although the song failed to chart, it remained a staple in her live shows with three known live recordings of the song.[60]
In September 1946, Holiday began work on what would be her only major film New Orleans. She starred opposite Louis Armstrong and Woody Herman. Plagued by racism and McCarthyism, producer Jules Levey and script writer Herbert Biberman were pressured to lessen Holiday and Armstrong's role in the film as to not give the impression that black people created jazz. Their attempts failed because in 1947 Biberman was listed as one of the Hollywood Ten and sent to jail.[61]
Holiday was not pleased that her role was reduced to that of a maid: "I thought I was going to play myself in it," she said. "I thought I was going to be Billie Holiday doing a couple of songs in a nightclub setting and that would be that. I should have known better. When I saw the script, I did."[citation needed] Before filming, Holiday was assigned a dramatic coach who coached her on how to properly say "Miss Marylee", the lead character's name. "So this coach was trying to get the right kind of tom feeling into this thing," Holiday said.[citation needed] At one point, after feeling cornered and unable to walk off the set, she burst out into tears. Louis Armstrong tried comforting her. "Better look out," he said. "I know Lady, and when she starts crying, the next thing she's going to do is start fighting."[citation needed] Several scenes were deleted from the film. "They had taken miles of footage of music and scenes," Holiday said, "[and] none of it was left in the picture. And very damn little of me. I know I wore a white dress for a number I did... and that was cut out of the picture."[62] She recorded the track "The Blues Are Brewin'", for the film's soundtrack. Other songs included in the movie are "Do You Know What It Means to Miss New Orleans?" and "Farewell to Storyville".
Holiday's drug addictions were a growing problem on the set. She earned more than a thousand dollars a week from her club ventures at the time, but spent most of it on heroin. Her lover Joe Guy traveled to Hollywood while Holiday was filming and supplied her with drugs. When discovered by Joe Glaser, Holiday's manager, Guy was banned from the set.[63]
By the late 1940s, Holiday had begun recording a number of slow, sentimental ballads. The magazine Metronome expressed its concerns in 1946 about "Good Morning Heartache," saying "there's a danger that Billie's present formula will wear thin, but up to now it's wearing well."[39] The New York Herald Tribune reported on a Holiday concert in 1946 that her performance had little variation in the melody of her songs, with no change in tempo.[64]
Legal troubles, Carnegie Hall Concert (1947–1952)Edit
By 1947, Holiday was at her commercial peak, having made a quarter of a million dollars in the three years prior.[65] Holiday placed second in the Down Beat poll for 1946 and 1947, her highest ranking in the poll.[66] In Billboard's July 6 issue on 1947, Holiday ranked 5 on its annual college poll of "girl singers". Jo Stafford topped the poll.[67] In 1946, Holiday won the Metronome Magazine popularity poll.[68]
On May 16, 1947, Holiday was arrested for the possession of narcotics in her New York apartment. On May 27, 1947, she was in court. "It was called 'The United States of America versus Billie Holiday'. And that's just the way it felt," Holiday recalled.[69] During the trial, Holiday received notice that her lawyer was not interested in coming down to the trial and representing her. "In plain English that meant no one in the world was interested in looking out for me," Holiday said. Dehydrated and unable to hold down any food, she pled guilty and asked to be sent to the hospital. The D.A. spoke up in her defense, saying, "If your honor please, this is a case of a drug addict, but more serious, however, than most of our cases, Miss Holiday is a professional entertainer and among the higher rank as far as income was concerned." At the end of the trial, Holiday was sentenced to Alderson Federal Prison Camp in West Virginia, more popularly known as "Camp Cupcake".
Holiday was released early (March 16, 1948) because of good behavior. When she arrived at Newark, her pianist Bobby Tucker and her dog Mister were waiting for her. The dog leaped at Holiday, knocking off her hat, and tackled her to the ground. "He began lapping me and loving me like crazy," she said. A woman overheard the commotion and thought the dog was attacking Holiday. She started screaming and soon a crowd gathered and then the press showed up. "I might just as well have wheeled into Penn Station and had a quiet little get-together with the Associated Press, United Press, and International News Service," Holiday said.[citation needed]
Ed Fishman (who fought with Joe Glaser to be Holiday's manager) thought of the idea to throw a comeback concert at Carnegie Hall. Holiday hesitated, unsure whether audiences were ready to accept her after the arrest. She eventually gave in, and agreed to the concert.
On March 27, 1948, Holiday played Carnegie Hall to a sold-out crowd. There were 2,700 tickets sold in advance, a record at the time for the venue. Her popularity at the time was unusual in that she didn't have a current hit record.[70] Holiday's last song to chart was "Lover Man" in 1945, which would be her final placement on the record charts during her lifetime. Holiday did 32 songs at the Carnegie concert by her count, some of which included Cole Porter's "Night and Day" and her 30s hit "Strange Fruit". During the show, someone sent Holiday a box of gardenias. "My old trademark," Holiday said. "I took them out of box and fastened them smack to the side of my head without even looking twice." There was a hatpin in the gardenias and Holiday, unknowingly, stuck the needle deep into the side of her head. "I didn't feel anything until the blood started rushing down in my eyes and ears," she said. After the third curtain call, Holiday passed out.[71]
On April 27, 1948, Bob Sylvester and her promoter Al Wilde arranged for Billie Holiday to do a Broadway show. Titled Holiday on Broadway, it sold out and was a success for a while. "The regular music critics and drama critics came and treated us like we were legit," Holiday said. Despite the success, the show closed after three weeks.[72]
Holiday was arrested again on January 22, 1949, inside her room at San Francisco's Hotel Mark Twain.
Holiday stated that she began using hard drugs in the early 1940s. She married trombonist Jimmy Monroe on August 25, 1941. While still married to Monroe, she became romantically involved with trumpeter Joe Guy, who was also her drug dealer, and she eventually became his common-law wife. She finally divorced Monroe in 1947 and also split with Guy.
In October 1949, Holiday recorded "Crazy He Calls Me", which was inducted into the Grammy Hall of Fame in 2010. Gabler said the song was a hit, likely making it her most successful recording for Decca after "Lover Man". The record charts of the 1940s did not list songs outside the top 30, making it impossible to recognize minor pop hits. Also, by the late 1940s, despite her popularity and concert drawing power, Holiday's singles received little radio airplay. This may have been because of the bad reputation she had up to that point.[73]
Because of her 1947 conviction, Holiday's New York City Cabaret Card was revoked, which kept her from working anywhere that sold alcohol for the remaining 12 years of her life.
The Cabaret system started in 1940 and was designed to prevent people of "bad character" from working on licensed premises. A performer had to renew his or her license every two years. This system lasted until 1967.[74] Clubs that sold alcohol in New York were among the highest paying venues in the country. Club owners knew blacklisted performers had limited work options, so they would offer them a smaller salary. This greatly reduced Holiday's earning power. She hadn't been receiving proper royalties for her work until she signed with Decca, so her main source of revenue was her club concerts. The problem worsened when Holiday's records went out of print in the 1950s. She seldom received any money from royalties in her latter years. For instance, in 1958 Holiday received a royalty check of only 11 dollars.[75][76] Also, Holiday's lawyer during the late 1950s, Earle Warren Zaidins, failed to register with BMI on all but two songs she had written or co-written, costing her potential revenue.[77]
In 1948, Holiday played at the Ebony Club, which, because she lost her cabaret card, was against the law. Her manager at the time, John Levy, was convinced he could get her card back and allowed her to open without one. "I opened scared," Holiday said, "[I was] expecting the cops to come in any chorus and carry me off. But nothing happened. I was a huge success."[78]
Also in 1948, Holiday recorded Gershwin's "I Loves You, Porgy". The single was heard by up and coming act Nina Simone. Simone covered the tune 1958, and it ended up becoming her sole top 40 hit in America.[79]
In 1950, Holiday appeared in the Universal-International short film Sugar Chile Robinson, Billie Holiday, Count Basie and His Sextet, where she sang "God Bless the Child" and "Now, Baby or Never".[80]
Lady Sings The Blues (1952–1959)Edit
By the 1950s, Holiday's drug abuse, drinking, and relationships with abusive men caused her health to deteriorate. She appeared on the ABC reality series The Comeback Story to discuss attempts to overcome her misfortunes. Her later recordings showed the effects of declining health on her voice, as it grew coarse and no longer projected its former vibrancy.
On March 28, 1957, Holiday married Louis McKay, a Mafia enforcer, who like most of the men in her life was abusive,[81] but he did try to get her off drugs. They were separated at the time of her death, but McKay had plans to start a chain of Billie Holiday vocal studios, à la Arthur Murray dance schools.
Holiday's late recordings on Verve constitute about a third of her commercial recorded legacy and are as popular as her earlier work for the Columbia, Commodore and Decca labels. In later years, her voice became more fragile, but it never lost the edge that had always made it so distinctive.
Holiday's autobiography, Lady Sings the Blues, was ghostwritten by William Dufty and published in 1956. Dufty, a New York Post writer and editor then married to Holiday's close friend Maely Dufty, wrote the book quickly from a series of conversations with the singer in the Duftys' 93rd Street apartment. He drew on the work of earlier interviewers as well and intended to let Holiday tell her story in her own way.[82]
To accompany her autobiography, Holiday released an LP in June 1956 entitled Lady Sings the Blues. The album featured four new tracks, "Lady Sings the Blues" (title track), "Too Marvelous for Words", "Willow Weep for Me", and "I Thought About You", as well as eight new recordings of Holiday's biggest hits to date. The re-recordings included "Trav'lin' Light" "Strange Fruit" and "God Bless the Child".[83] On December 22, 1956, Billboard magazine reviewed Lady Sings the Blues, calling it a worthy musical complement to her autobiography. "Holiday is in good voice now," said the reviewer, "and these new readings will be much appreciated by her following." "Strange Fruit" and "God Bless the Child" were called classics, and "Good Morning Heartache", another reissued track in the LP, was also noted positively.[84]
On November 10, 1956, Holiday performed two concerts before packed audiences at Carnegie Hall, a major accomplishment for any artist, especially a black artist of the segregated period of American history. Live recordings of the second Carnegie Hall concert were released on a Verve/HMV album in the UK in late 1961 called The Essential Billie Holiday. The thirteen tracks included on this album featured her own songs, "I Love My Man", "Don't Explain" and "Fine And Mellow", together with other songs closely associated with her, including "Body and Soul", "My Man", and "Lady Sings the Blues" (her lyrics accompanied a tune by pianist Herbie Nichols).[85]
The liner notes on this album were written partly by Gilbert Millstein of The New York Times, who, according to these notes, served as narrator in the Carnegie Hall concerts. Interspersed among Holiday's songs, Millstein read aloud four lengthy passages from her autobiography Lady Sings The Blues. He later wrote:
The narration began with the ironic account of her birth in Baltimore – 'Mom and Pop were just a couple of kids when they got married. He was eighteen, she was sixteen, and I was three' – and ended, very nearly shyly, with her hope for love and a long life with 'my man' at her side.
Millstein continued:
It was evident, even then, that Miss Holiday was ill. I had known her casually over the years and I was shocked at her physical weakness. Her rehearsal had been desultory; her voice sounded tinny and trailed off; her body sagged tiredly. But I will not forget the metamorphosis that night. The lights went down, the musicians began to play and the narration began. Miss Holiday stepped from between the curtains, into the white spotlight awaiting her, wearing a white evening gown and white gardenias in her black hair. She was erect and beautiful; poised and smiling. And when the first section of narration was ended, she sang – with strength undiminished – with all of the art that was hers. I was very much moved. In the darkness, my face burned and my eyes. I recall only one thing. I smiled."[86]
The critic Nat Hentoff of Down Beat magazine, who attended the Carnegie Hall concert, wrote the remainder of the sleeve notes on the 1961 album. He wrote of Holiday's performance:
Throughout the night, Billie was in superior form to what had sometimes been the case in the last years of her life. Not only was there assurance of phrasing and intonation; but there was also an outgoing warmth, a palpable eagerness to reach and touch the audience. And there was mocking wit. A smile was often lightly evident on her lips and her eyes as if, for once, she could accept the fact that there were people who did dig her.
Hentoff continued:
The beat flowed in her uniquely sinuous, supple way of moving the story along; the words became her own experiences; and coursing through it all was Lady's sound – a texture simultaneously steel-edged and yet soft inside; a voice that was almost unbearably wise in disillusion and yet still childlike, again at the centre. The audience was hers from before she sang, greeting her and saying good-bye with heavy, loving applause. And at one time, the musicians too applauded. It was a night when Billie was on top, undeniably the best and most honest jazz singer alive.
Her performance of "Fine and Mellow" on CBS's The Sound of Jazz program is memorable for her interplay with her long-time friend Lester Young. Both were less than two years from death.
Holiday first toured Europe in 1954 as part of a Leonard Feather package that also included Buddy DeFranco and Red Norvo. When she returned almost five years later, she made one of her last television appearances for Granada's Chelsea at Nine in London. Her final studio recordings were made for MGM in 1959, with lush backing from Ray Ellis and his Orchestra, who had also accompanied her on Columbia's Lady in Satin album the previous year—see below. The MGM sessions were released posthumously on a self-titled album, later re-titled and re-released as Last Recordings.
Although childless, Billie Holiday had two godchildren: singer Billie Lorraine Feather, daughter of Leonard Feather, and Bevan Dufty, son of William Dufty.[82]
In early 1959 Holiday learned that she had cirrhosis of the liver. The doctor told her to stop drinking, which she did for a short time, but soon returned to heavy drinking.[87] By May she had lost twenty pounds. Friends Leonard Feather, Joe Glaser, and Allan Morrison tried to get her to check into a hospital, but she put them off.[88]
On May 31, 1959, Holiday was taken to Metropolitan Hospital in New York suffering from liver and heart disease. She was arrested for drug possession as she lay dying, and her hospital room was raided by authorities.[82] Police officers were stationed at the door to her room. Holiday remained under police guard at the hospital until she died from pulmonary edema and heart failure caused by cirrhosis of the liver on July 17, 1959. In the final years of her life, she had been progressively swindled out of her earnings, and she died with $0.70 in the bank and $750 (a tabloid fee) on her person. Her funeral mass was held at Church of St. Paul the Apostle in New York City.
Gilbert Millstein of The New York Times, who had been the narrator at Billie Holiday's 1956 Carnegie Hall concerts and had partly written the sleeve notes for the album The Essential Billie Holiday (see above), described her death in these same 1961-dated sleeve notes:
Billie Holiday died in the Metropolitan Hospital, New York, on Friday, July 17, 1959, in the bed in which she had been arrested for illegal possession of narcotics a little more than a month before, as she lay mortally ill; in the room from which a police guard had been removed – by court order – only a few hours before her death, which, like her life, was disorderly and pitiful. She had been strikingly beautiful, but she was wasted physically to a small, grotesque caricature of herself. The worms of every kind of excess – drugs were only one – had eaten her ... The likelihood exists that among the last thoughts of this cynical, sentimental, profane, generous and greatly talented woman of 44 was the belief that she was to be arraigned the following morning. She would have been, eventually, although possibly not that quickly. In any case, she removed herself finally from the jurisdiction of any court here below.
Her distinctive delivery made Billie Holiday's performances instantly recognizable throughout her career. A master of improvisation, Billie's well-trained ear more than compensated for her lack of music education. Her voice lacked range and was somewhat thin, plus years of excessive drug use eventually altered its texture and gave it a prepossessing fragility. The emotion with which she imbued each song remained not only intact but also profound.[89]Template:Full Her last major recording, a 1958 album entitled Lady in Satin, features the backing of a 40-piece orchestra conducted and arranged by Ray Ellis, who said of the album in 1997:
I would say that the most emotional moment was her listening to the playback of "I'm a Fool to Want You." There were tears in her eyes ... After we finished the album I went into the control room and listened to all the takes. I must admit I was unhappy with her performance, but I was just listening musically instead of emotionally. It wasn't until I heard the final mix a few weeks later that I realized how great her performance really was.[90]
Frank Sinatra admired Holiday, having been influenced by her performances on 52nd Street as a young man. He told Ebony in 1958 about her impact:
With few exceptions, every major pop singer in the US during her generation has been touched in some way by her genius. It is Billie Holiday who was, and still remains, the greatest single musical influence on me. Lady Day is unquestionably the most important influence on American popular singing in the last twenty years.[91]
Hit recordsEdit
In 1986, Joel Whitburn's Record Research, Inc. company compiled information on the popularity of record releases from the pre-rock and roll era and created pop charts dating all the way back to the beginning of the commercial recording industry. The company's findings were published in the book Pop Memories 1890–1954. Several of Holiday's records are listed on the pop charts Whitburn created.[92]
Billie Holiday began her recording career on a high note with her first major release "Riffin' the Scotch" selling 5,000 copies. The song was released under the band name "Benny Goodman & his Orchestra."[92]
Most of Holiday's early successes were released under the band name "Teddy Wilson & his Orchestra." During her stay in Wilson's band, Holiday would sing a few bars and then other musicians would have a solo. Teddy Wilson, one of the most influential jazz pianists from the swing era,[93] accompanied Holiday more than any other musician. He and Holiday have 95 recordings together.[94]
In July 1936, Holiday began releasing sides under her own name. These songs were released under the band name "Billie Holiday & Her Orchestra."[95] Most noteworthy, the popular jazz standard "Summertime," sold well and was listed on the available pop charts at the time at number 12, the first time the jazz standard charted under any artist. Only Billy Stewart's R&B version of "Summertime" reached a higher chart placement than Holiday's, charting at number 10 thirty years later in 1966.[96]
Holiday had 16 best selling songs in 1937, making the year her most commercially successful. It was in this year that Holiday scored her sole number one hit as a featured vocalist on the available pop charts of the 1930s, "Carelessly". The hit "I've Got My Love to Keep Me Warm", was also recorded by Ray Noble, Glen Gray and Fred Astaire whose rendering was a best seller for weeks.[97] Holiday's version ranked 6 on the year-end single chart available for 1937.[45]
In 1939, Holiday recorded her biggest selling record, "Strange Fruit" for Commodore, charting at number 16 on the available pop charts for the 1930s.[98]
In 1940, Billboard began publishing its modern pop charts, which included the Best Selling Retail Records chart, the precursor to the Hot 100. None of Holiday's songs placed on the modern pop charts, partly because Billboard only published the first ten slots of the charts in some issues. Minor hits and independent releases had no way of being spotlighted.
"God Bless the Child", which went on to sell over a million copies, ranked number 3 on Billboard's year-end top songs of 1941.[46]
On October 24, 1942, Billboard began issuing its R&B charts. Two of Holiday's songs placed on the chart, "Trav'lin' Light" with Paul Whiteman, which topped the chart, and "Lover Man", which reached number 5.
"Trav'lin' Light" also reached 18 on Billboard's year-end chart.
- Main article: Billie Holiday discography
Billie Holiday recorded extensively for four labels: Columbia Records, issued on its subsidiary labels Brunswick Records, Vocalion Records, and OKeh Records, from 1933 through 1942; Commodore Records in 1939 and 1944; Decca Records from 1944 through 1950; briefly for Aladdin Records in 1951; Verve Records and on its earlier imprint Clef Records; from 1952 through 1957, then again for Columbia Records from 1957 to 1958 and finally for MGM Records in 1959. Many of Holiday's recordings appeared on 78 rpm records prior to the long-playing vinyl record era, and only Clef, Verve, and Columbia issued Holiday albums during her lifetime that were not compilations of previously released material. Many compilations have been issued since her death; as well as comprehensive box sets and live recordings.[99][100]
Studio LPsEdit
- Billie Holiday Sings (1952)
- An Evening with Billie Holiday (1952)
- Billie Holiday (1954)
- Stay with Me (1955)
- Music for Torching (1955)
- Velvet Mood (1956)
- Lady Sings the Blues (1956)
- Body and Soul (1957)
- Songs for Distingué Lovers (1957)
- All or Nothing at All (1958)
- Lady in Satin (1958)
- Last Recordings (1959)
Awards and honorsEdit
Grammy Hall of FameEdit
Billie Holiday was posthumously inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance."
|Billie Holiday: Grammy Hall of Fame Awards[101]
|Year Recorded
|Year Inducted
|"Crazy He Calls Me"
|Jazz (single)
|"Embraceable You"
|Jazz (single)
|Lady in Satin
|Jazz (album)
|"Lover Man (Oh, Where Can You Be?)"
|Jazz (single)
|"Strange Fruit"
|Jazz (single)
|Listed also in the National Recording Registry by the Library of Congress in 2002
|"God Bless the Child"
|Jazz (single)
Grammy Best Historical AlbumEdit
The Grammy Award for Best Historical Album has been presented since 1979.
|Lady Day: The Complete Billie Holiday
|Columbia 1933–1944
|The Complete Billie Holiday
|Verve 1945–1959
|Billie Holiday — The Complete Decca Recordings
|Verve 1944–1950
|Billie Holiday — Giants of Jazz
Other honorsEdit
|Ertegun Jazz Hall of Fame[102]
|Jazz at Lincoln Center, New York
|Rock and Roll Hall of Fame
|Category: "Early Influence"
|ASCAP Jazz Wall of Fame[103]
|Esquire Magazine Gold Award
|Best Leading Female Vocalist
|Jazz award
|Esquire Magazine Silver Award
|Best Leading Female Vocalist
|Jazz award
|Esquire Magazine Silver Award
|Best Leading Female Vocalist
|Jazz award
|Esquire Magazine Gold Award
|Best Leading Female Vocalist
|Jazz award
- 1972, Diana Ross portrayed Holiday in the film Lady Sings the Blues, which is loosely based on the 1956 autobiography of the same name. The film earned Ross a nomination for the Academy Award for Best Actress.
- She was portrayed by Ernestine Jackson in the play Lady Day at Emerson's Bar and Grill by Lanie Robertson.
- Singer Miki Howard released the Holiday tribute album, Miki Sings Billie: A Tribute to Billie Holiday in 1993.
- Paula Jai Parker portrayed Holiday in a Season 7 episode of the TV series Touched by an Angel, entitled "God Bless the Child," the title derived from a song which Holiday had written and performed.[104]
- Jazz pianist Mal Waldron performed as Holiday's accompanist and released several tribute albums including:
- Left Alone (Bethlehem, 1959)
- Blues for Lady Day (Black Lion, 1972)
- Left Alone '86 with Jackie McLean (Paddle Wheel, 1986)
- No More Tears (For Lady Day) (Timeless, 1989)
- Billie Hollidy, Croatian National Theatre in Split by A.Ostojić & Ksenia Prohaska (2006)[105]
- 1987, Billie Holiday was posthumously awarded the Grammy Lifetime Achievement Award.
- 1993, R&B singer Miki Howard released an album dedicated to Holiday titled Miki Sings Billie.
- 1994, the United States Postal Service introduced a Billie Holiday postage stamp.
- 1999, Holiday ranked No. 6 on VH1's 100 Greatest Women in Rock n' Roll.
- 2000, she was inducted into the Rock and Roll Hall of Fame.
Over the years, there have been many tributes to Billie Holiday, including "The Day Lady Died", a 1959 poem by Frank O'Hara, and Langston Hughes' poem "Song for Billie Holiday".
- In 1988 the group U2 released "Angel of Harlem" in her honor.
- "My Only Friend" by The Magnetic Fields is a tribute to Billie Holiday.
- Arthur Phillips features Holiday's 1953 concert in New York in his novel The Song is You (2009).
- 1950: 'Sugar Chile' Robinson, Billie Holiday, Count Basie and His Sextet
- 1947: New Orleans
- 1935: "Symphony in Black", short (with Duke Ellington)
- 1933: The Emperor Jones, appeared as an extra
Television appearancesEdit
|Adventures in Jazz
|<center>Fred Robbins
|Unknown Songs
|Arlene Francis Show, NY (1)
|<center>Arlene Francis
|"The Man I Love", "All of Me", "Lover Man"
|Eddie Condon's Floor Show, NY (1)
|<center>Eddie Condon
|"I Love My Man", "Keeps on Rainin'", "Lover Man"
|Eddie Condon's Floor Show, NY (1)
|<center>Eddie Condon
|"Fine & Mellow", "Porgy", "Them There Eyes", "I Love My Man"
|Art Ford Show, NY (1)
|<center>Art Ford
|"Lover Man", "I Cover the Waterfront", Two-Minute Interview, "All of Me"
|Art Ford Show, NY (1)
|<center>Art Ford
|"Them There Eyes", "Detour Ahead", "Now or Never"
|Eddie Condon's Floor Show, NY
|<center>Eddie Condon
|Apollo Theatre Show, NY (1)
|"You're My Thrill"
|Apollo Theatre Show, NY (1)
|"My Man"
|Apollo Theatre Show, NY (1)
|<center>Count Basie
|The Comeback Story, NY (1)
|<center>George Jessel
|Twenty-Minute Interview, "God Bless the Child"
|The Tonight Show, NY (1)
|<center>Steve Allen
|"My Man", "Them There Eyes", "Lover Man"
|The Tonight Show, NY (1)
|<center>Steve Allen
|"Please Don't Talk About Me", Two-Minute Interview, "Ghost of a Chance"
|Stars of Jazz, LA, CA (2)
|<center>Bobby Troup
|"Please Don't Talk About Me When I'm Gone", "Billie's Blues", "My Man"
|Bandstand USA, NY (1)
|<center>Bert Parks
|"Willow Weep for Me", "I Only Have Eyes for You", "My Man", "Please Don't Talk About Me"
|Night Beat, NY (1)
|<center>Mike Wallace
|Fifteen-Minute Interview
|Peacock Alley, NY (1)
|<center>Tex McCleary
|Twenty-Minute Interview
|The Tonight Show, NY (1)
|<center>Steve Allen
|Live Broadcast from Mr. Kelly's, Chicago (1)
|"Good Morning Heartache", "You Better Go Now"
|The Seven Lively Arts: The Sound of Jazz, LA (2)
|"Fine & Mellow"
|Club Oasis, NY (1)
|<center>Martha Raye
|"You've Changed", "My Man"
|Telethon, NY
|<center>Dean Martin
|Unknown Songs
|Art Ford's Jazz Party, WNTA-TV NY (2)
|<center>Art Ford
|"You've Changed", "I Love My Man", "When Your Lover Has Gone"
|Art Ford's Jazz Party, NY
|<center>Art Ford
|"All of Me", "Good Morning Heartache", "Travelin' Light"
|Art Ford's Jazz Party, NY (2)
|<center>Art Ford
|"What a Little Moonlight Can Do", "Foolin' Myself", "It's Easy to Remember"
|Art Ford's Jazz Party, NY (2)
|<center>Art Ford
|"Moanin' Low", "Don't Explain", "When Your Lover Has Gone"
|Today Show
|<center>Dave Garroway
|"My Funny Valentine"
|Mars Club, Music Hall Parade Voyons Un Peu, Paris France (2)
|"I Only Have Eyes for You"
|Gilles Margaritis Programme, Paris France (2)
|<center>Gilles Margaritis
|"Trav'lin' Light"
|Timex All-Star Jazz Show IV, NY
|<center>Jackie Gleason
|Chelsea at Nine, London, England (2)
|<center>Robert Beatty
|"Porgy", "Please Don't Talk About Me", "Strange Fruit"
(1) = Available on Audio (2) = Available on DVD
See also Edit
- ↑ Cite error: Invalid
<ref>tag; no text was provided for refs named
- ↑ Howard, Patrick. "About Billie Holiday: Biography". http://www.billieholiday.com/about/biography.htm. Retrieved March 13, 2013.
- ↑ Bush, John. "Billie Holiday: Biography". Allmusic.com. http://www.allmusic.com/artist/p56716/biography. Retrieved July 30, 2010.
- ↑ Christgau, Robert. "Consumer Guide Album". Robert Christgau. http://www.robertchristgau.com/get_album.php?id=7677. Retrieved February 21, 2013.
- ↑ O'Meally, Robert (1991). Lady Day: The Many Faces of Billie Holiday. New York: Da Capo Press. ISBN 9780306809590. OCLC 45009756.
- ↑ Nicholson, pp. 18—23.
- ↑ Clarke, p. xiii.
- ↑ Nicholson, pp. 21—22.
- ↑ Nicholson, pp. 22–24.
- ↑ Nicholson, p. 25.
- ↑ Nicholson, p. 27.
- ↑ Nicholson, p. 31.
- ↑ Nicholson, p. 32.
- ↑ Cite error: Invalid
<ref>tag; no text was provided for refs named
- ↑ Nicholson, pp. 35—37.
- ↑ Vail, Ken (1997). Lady Day's Diary. London, England: Sanctuary Publishing. p. 32. ISBN 1-86074-131-2.
- ↑ Nicholson, pp. 35—39.
- ↑ Nicholson, p. 39.
- ↑ What are some popular songs/albums during Prohibition? – Yahoo! Answers. Answers.yahoo.com. Retrieved on 2010-11-13.
- ↑ Gourse, p. 73.
- ↑ Nicholson, p. 56.
- ↑ Nicholson, p. 65.
- ↑ Billie Holiday Discography – The Composers. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Network Offline. Jazznbossa.ning.com. Retrieved on 2010-11-13.
- ↑ Gourse, pp. 73 – 74.
- ↑ Billie Holiday Page, Soulwalking.co.uk. Retrieved on 2010-11-13.
- ↑ Nicholson p.93-94
- ↑ Gourse, p. 40.
- ↑ "Billie Holiday Live Songs". Billieholidaysongs.com. http://www.billieholidaysongs.com/live_songs.htm#1937. Retrieved 2012-04-07.
- ↑ Nicholson p.96-97
- ↑ Holiday p. 80
- ↑ Gourse, p. 103-104.
- ↑ Nicholson, pp. 100-107.
- ↑ Nicholson, p. 70.
- ↑ Nicholson, p. 102.
- ↑ David Margolick, Strange Fruit: Billie Holiday, Café Society, and an Early Cry for Civil Rights (Philadelphia: Running Press, 2000), pp. 25–27.
- ↑ Margolick, Strange Fruit, pp. 40–46.
- ↑ Clarke, p. 169.
- ↑ 39.0 39.1 Nicholson, p. 113.
- ↑ Lady Sings the Blues, p. 95.
- ↑ Nicholson, p. 115.
- ↑ Lady Sings the Blues, pp. 104–105.
- ↑ "Billy Crystal: Biography". IMDB. http://www.imdb.com/name/nm0000345/bio. Retrieved March 30, 2011.
- ↑ Lady Sings the Blues, pp. 100–101.
- ↑ 45.0 45.1 Song artist 250 – Billie Holiday. Tsort.info. Retrieved on 2010-11-13.
- ↑ 46.0 46.1 Jazz History: The Standards (1940s). Jazzstandards.com. Retrieved on 2010-11-13.
- ↑ GRAMMY.com. GRAMMY.com (2009-02-08). Retrieved on 2010-11-13.
- ↑ Ghosts of Yesterday: Billie Holiday and the Two Irenes (March 4, 2006) http://indianapublicmedia.org/nightlights/ghosts-of-yesterday-billie-holiday-and-the-two-irenes-a-jazz-mystery/#program-article
- ↑ Nicholson, p. 130.
- ↑ Harlem Hit Parade – The eMusic Dozen. Emusic.com. Retrieved on 2010-11-13.
- ↑ Nicholson, p. 133.
- ↑ 52.0 52.1 Billie Holiday Studio Songs. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Nicholson, p. 150.
- ↑ Nicholson, p. 122.
- ↑ 52nd Street, the street of jazz – Google Books. Books.google.com. Retrieved on 2010-11-13.
- ↑ 56.0 56.1 Lover Man (Oh, Where Can You Be?) (1942) JazzStandards.com
- ↑ Jazz Standards Songs and Instrumentals (Lover Man (Oh, Where Can You Be?)). Jazzstandards.com (1944-10-04). Retrieved on 2010-11-13.
- ↑ Alagna, Magdalena. Billie Holiday, The Rosen Publishing Group (2003), p. 61 – ISBN 0-8239-3640-6.
- ↑ Billie Holiday Studio Songs. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Billie Holiday Live Songs. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Nicholson, pp. 152–155.
- ↑ Lady Sings the Blues, pp. 136–140.
- ↑ Nicholson, pp. 152–157.
- ↑ Nicholson, p. 151.
- ↑ Lady Sings the Blues, pp. 147–149.
- ↑ Nicholson, p. 155.
- ↑ Search the Billboard Magazine Archives. Billboard.com. Retrieved on 2010-11-13.
- ↑ John Chilton, Billie's Blues: the Billie Holiday story, 1933–1959 (1975), Part 3.
- ↑ Lady Sings the Blues, p. 146.
- ↑ Nicholson, pp. 165–167.
- ↑ Lady Sings the Blues pp. 168–169.
- ↑ Lady Sings the Blues, pp. 172–173.
- ↑ Clarke p. 327.
- ↑ New York City Cabaret Card. En.academic.ru. Retrieved on 2010-11-13.
- ↑ Nicholson, p. 229.
- ↑ Nicholson, p. 167.
- ↑ Nicholson, p. 215.
- ↑ Autobiography "Lady Sings the Blues" p. 175.
- ↑ Simone, Nina; Stephen Cleary (2003) [1992]. I Put a Spell on You. introduction by Dave Marsh (2nd ed.). New York: Da Capo Press. ISBN 0-306-80525-1. p. 60.
- ↑ Nicholson, p. 181.
- ↑ Robert Fulford, "Trying to find the real Lady Day: Those who try to tell Billie Holiday's story often discover an unknowable life".
- ↑ 82.0 82.1 82.2 Hamlin, Jesse (September 18, 2006). "Billie Holiday's Bio, 'Lady Sings the Blues,' May be Full of lies, But It Gets at Jazz Great's Core". San Francisco Chronicle. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2006/09/18/DDG2VL68691.DTL. Retrieved July 31, 2010.
- ↑ Billie Holiday Vinyl Discography. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Billboard – Google Books. Books.google.com (1956-12-22). Retrieved on 2010-11-13.
- ↑ Billie Holiday – 1956 At The Carnegie Hall. The Essential Billie Holiday.
- ↑ The Essential Billie Holiday, liner notes.
- ↑ Feather, Leonard (1987). From Satchmo to Miles. Da Capo Press. p. 82. ISBN 978-0-306-80302-4.
- ↑ Feather, p. 83.
- ↑ Billie Holiday — a booklet published by New York Jazz Museum in 1970.
- ↑ Interview on KCSM
- ↑ Clarke, p. 96.
- ↑ 92.0 92.1 Donald, p. 74.
- ↑ : JazzNotes : JazzNotes for Educators – Teddy Wilson. Riverwalkjazz.org. Retrieved on 2010-11-13.
- ↑ Billie Holiday Discography – Her Musicians. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Billie Holiday Studio Songs. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Song title 70 – Summertime. Tsort.info. Retrieved on 2010-11-13.
- ↑ No. 1 Songs – 1930–1989. Ntl.matrix.com.br. Retrieved on 2010-11-13.
- ↑ Billie Holiday Studio Songs. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Billie Holiday Long Play Discography. Billieholidaysongs.com. Retrieved on 2010-11-13.
- ↑ Billie Holiday. AllMusic. Retrieved on 2010-11-13.
- ↑ Grammy Hall of Fame Database.
- ↑ Ertegun Jazz Hall of Fame 2004.
- ↑ The ASCP Jazz Wall of Fame list.
- ↑ Touched by an Angel: God Bless the Child Episode Summary on. Tv.com (2008-06-25). Retrieved on 2010-11-13.
- ↑ "Anton Arsen Ostojić / Ksenija Prohaska: LADY SINGS THE BLUES / HNK Split, 11. 02. 2006". Arhiva.hnk-split.hr. http://arhiva.hnk-split.hr/2005_2006/drama/billie_holiday/index.htm. Retrieved 2012-04-07.
- Blackburn, Julia (2006). With Billie: A New Look at the Unforgettable Lady Day. New York: Vintage Books. ISBN 0-375-40610-7.
- Chilton, John (1989). Billie's Blues: The Billie Holiday Story 1933–1959. New York: Da Capo Press. ISBN 0-306-80363-1.
- Clarke, Donald (2000). Billie Holiday: Wishing on the Moon. Cambridge: Da Capo Press. ISBN 0-306-81136-7.
- Davis, Angela Y. (1998). Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday. New York: Random House. ISBN 0-679-77126-3.
- Gourse, Leslie (2000). The Billie Holiday Companion: Seven Decades of Commentary. New York: Schirmer Trade Books. ISBN 0-02-864613-4.
- Griffin, Farah Jasmine (2001). If You Can't Be Free, Be A Mystery: In Search of Billie Holiday. New York: Random House. ISBN 0-684-86808-3.
- Ingham, Chris (2000). Billie Holiday. Darby, Pennsylvania: Diane Publishing. ISBN 1-56649-170-3.
- James, Burnett (1984). Billie Holiday. Gloucestershire, England: Spellmount Publishers. ISBN 0-946771-05-7.
- Millar, Jack (1994). Fine and Mellow: A Discography of Billie Holiday. London: Billie Holiday Circle. ISBN 1-899161-00-7.
- Nicholson, Stuart (1995). Billie Holiday. Boston: Northeastern University Press. ISBN 1-55553-303-5.
- O'Meally, Robert (1991). Lady Day: The Many Faces of Billie Holiday. New York: Da Capo Press. ISBN 9780306809590. OCLC 45009756.
- Holiday, Billie; Dufty, William (1957). Lady Sings the Blues. New York: Doubleday. ISBN 0-14-006762-0.
External linksEdit
|Wikiquote has a collection of quotations related to: Billie Holiday
- Official Billie Holiday at Sony BMG
- Billie Holiday discography
- Biography and song samples at PBS
- "Twelve Essential Billie Holiday Recordings" by Stuart Nicholson, Jazz.com
- Photograph of Holiday's gravestone
- Template:IMDb name
Template:Billie Holiday Template:Maryland Women's Hall of Fame Template:National Women's Hall of Fame


text:
Titus 2:7-8 • Beyond Reproach
—Titus 2:7-8 (NASB)
Now we all know, of course, that people will find fault with us no matter what we do or say, no matter if we're 100% innocent of anything they purport or concoct. Paul isn't providing some kind of formula guaranteeing protection against unwarranted criticism or even outright persecution, but is speaking to the fact that true believers are held to a higher standard. The term "beyond reproach" is a standard which, according to God's judgment, no one can legitimately accuse us of living a double life, of allowing sin to live side-by-side with our Christianity.
Some of the obvious applications of this can be seen in the problem of claiming to be a Christian and yet being involved in an unfaithful or sex-based relationship. One cannot be "beyond reproach" if they profess Christendom on the one hand but are obviously engaged in deceitful or fraudulent business practices. In other words, one's personal behavior is supposed to confirm the authenticity of our faith and witness. But when we're visibly compromised by sin we're rightly open to criticism. This isn't irrational hatred or persecution, but a legitimate observation that our "walk" doesn't match our "talk".
I believe Paul is taking this one step further. It's not just our behavior that needs to be in alignment with God's Word ("be an example of good deeds"), but our teaching and beliefs — "with purity in doctrine". We're supposed to be so grounded in the fundamentals of the Gospel and actively rejecting all false teaching and earthly philosophy to such a degree that our personal beliefs are "beyond reproach" from God's point of view. When we claim to be a Christian but embrace false notions such as Kingdom Now Theology, the Faith-Prosperity Gospel, or the ridiculous teachings of the likes of Hinn, Hagee, Osteen, or Warren, our witness is justifiably exposed as being compromised at the least, hypocritical at most.
It's important to keep in mind that the biblical definition of "purity" is "unpolluted by sin". Paul identifies the need to hold and espouse doctrine that is unpolluted by sin. What we speak and believe matters not only in our personal relationship with Christ, but in our public witness of Him. When we dabble with false teachers, fail to clearly make a distinction between the true teachers and the money-preachers, or allow the introduction of any number of false gospels onto our bookshelves, it results in no longer being "beyond reproach" but opens the door to justifiable criticism as poor examples of Christianity. We're supposed to be Christian BOTH in our behavior and our beliefs.†††

subset: commoncrawl


text:
© 2020 Koch Industries, Inc. All rights reserved.
What We Do
See More
Our life's work is to help people improve their lives by making and innovating products and services our customers value. Our focus is on delivering mutual benefit: Win-win outcomes that make life better for customers and employees alike.
Get updates from Koch delivered right to your inbox.
We stand with those who are peacefully speaking up and acting constructively to remove the barriers that persist in our society, including barriers that institutionalize racism and unjustly hold so many people back.
Koch Industries, our companies, and our communities are standing together to help create certainty in these uncertain times. Here are some of the ways Koch is helping fight COVID-19.
Catch up on news from around our company, including product innovations, people, acquisitions, our stands on important issues and more.
After 15 years as an admin at INVISTA's Victoria, Texas, plant, Eva Garcia had an epiphany.
Read Now
Matt Mullenweg, founder of WordPress, talks with Koch Disruptive Technologies' Jason Illian, about his company's long-time culture of a remote workforce and the lessons he's learned about the shift to work from home that we can all apply
Kelly Robinson's unconventional road to her dream job
How Koch Industries has transformed from a small family firm with a narrow focus into one of the largest privately held companies in America.
Every day, we work to create more value, using fewer resources than the day before.
Learn More
We believe that continual transformation today will help us meet the needs of our customers tomorrow. Are you a challenger?
To give all good people a seat at life's table of opportunity, we help eliminate the barriers that hold them back.
Explore Koch Industries to discover our ongoing commitment to the environment, jobs and philanthropy.


text:
New Year's Celebration in Helsinki
Hotel Kämp welcomes you to enjoy Helsinki's most spectacular New Year's Celebration at Hotel Kämp. The sparkling night can include a luxurious accommodation in one of Hotel Kämp's rooms or suites with access to pampering Kämp Spa, New Year's Eve Dinner at Kämp Brasserie with a beautiful winter view to Esplanade Park and to start the year 2020 a delicious buffet breakfast on New Year´s Day.
There is also still an opportunity to enjoy an exclusive New Year's Eve Dinner in one of Hotel Kämp's event venues, please contact us for more information: +358 (0) 9 5840 9520 / email@example.com.
The New Year's Dinner in Mirror Room is SOLD OUT. Reserve the exclusive Mirror Room Dinner for the next New Year 2021 now: +358 (0) 9 5840 9520 email@example.com.


text:
WASHINGTON – During a virtual commencement speech to brainwashed students, an arrogant prick took veiled swipes at President Trump's response to the coronavirus outbreak. "These folks in charge don't know what they're doing," the arrogant prick told his audience. "Their response to the current pandemic has been weak, sloppy, and a model of inefficiency. Compare that to the flawless roll out of my Obamacare website during my first term. I, I, I, uh, I, I, uh, rest my case." For those who might not remember, the Obamacare website launch was…Read More
Tag: Obama
Obama Unsure Whether Climate Change Models Or Coronavirus Models Are More Wrong
MARTHA'S VINEYARD – It's Earth Day, so Barack Obama emerged just long enough to make his obligatory comments about the dangers of climate change. The former president released a statement saying climate change would be more devastating to the world than the coronavirus. Each year, Obama picks a different boogeyman to pit against the coming doom of climate change. And climate change always wins. Always. However, he wasn't sure which models were more incorrect. Are climate change models more wrong than coronavirus models? "That's difficult to answer. Both have been…Read More
Judge Kills Obamacare, Dems Given Board Game As Consolation Prize
TEXAS – A federal judge here essentially killed Obamacare in a ruling last week. Sure, there will be appeals for years to come. But what's a Democrat to do in the meantime? Fortunately, the judge reminded them they will always have the Obamacare board game as a consolation prize. The judge recommended that Democratic leaders work on coming up with a plan that isn't unconstitutional and forced down the throats of Americans. Then he thanked them for playing. The board game Democrats are left with is sure to be a…Read More
Chris Christie Pulls Hammy, Out Of Running For Trump Chief Of Staff
WASHINGTON – "I don't run. If I'd known there was going to be running involved, I would've ended this speculation much sooner," former New Jersey Governor Chris Christie said. He was responding to news today that he was being considered for President Trump's next Chief of Staff. Christie's people released a statement saying he was "taking himself out of the running for the Chief of Staff position." The disgraced governor doesn't do anything that involves running. "I think that's pretty apparent," he told reporters. "I can stroll, like I did…Read More
Immigrant Child Cries Because Trump Can't Make Her Country Great Again Too
US SOUTHERN BORDER – Time magazine has immortalized the image of a young immigrant child as she first learns that Donald Trump cannot be president in her home country – and can't make her country great again too. The picture, showing the American president engaged in a conversation with a Central American toddler, captures the moment the realization hits the youngster that Trump cannot be in charge of her country as well. "I'm sorry, sweetie, but if the terrible leaders in your country would just follow my example, they could…Read More
Bradley Manning's Alter-Ego to Run for US Senate in Maryland
BALTIMORE – The boy named Chelsea/Bradley Manning, who was jailed for stealing classified government documents, before being given a get-out-of-jail-free card by Barack Obama, has filed paperwork to enter and lose the race for a U.S. senate seat in Maryland. Bradley, who pretends to live as a woman, said that if he wins the senate seat in November, he may decide to become a congressman instead. "I might decide to switch." He plans to run as a Democrat, of course. Manning believes his experience in stealing classified information will be…Read More
Dems Outraged Trump UN Speech Contained No Bowing, Apologies
NEW YORK – Hospitals nationwide reported a surge in hyperventilation cases being presented by progressives and democrats after President Trump referred to North Korean dictator Kim Jong-un as "Rocket Man." But they were upset by so much more. The following are some of the criticisms voiced by various pundits and Democrats immediately following the president's address to the United Nations today: 17 year-old former White House spokesboy Josh Earnest – "The president's speech was foolish, incoherent, and very unObama-like." CNN contributor David Gergen – "I didn't see a single bow…Read More
Obama's North Korea Advice: "Just Wait for Kim to Die Someday"
SOUTH KOREA – Former president Barack Obama is still under the false assumption that anybody actually give's a rip what he thinks about anything. But that's never stopped him before. While meeting with South Korea's leader last week, Obama took the opportunity to trash President Trump, apologize for America being responsible for all evil in the world, and give his advice for how to handle the current North Korean nuclear threat. "Well, if I were still in office, I wouldn't do a thing. That was always my modus operandi, unless…Read More
Syria Strike Reminds World What a P*$$y Obama Was
FREE WORLD – Opinions differ on the motivation for, and the repercussions of, President Trump's ordered military strike on Syria this week. Many world leaders applauded his move and believe the attack sends America's enemies a strong message. The main person who hates Trump's show of force is Barack Obama. The world has been reminded what a p*$$y Obama was. The former president always had too much estrogen in his system to deal with the Syria problem. No one wants the Syrian situation to escalate beyond this point, but many…Read More
Obama Memoir To Be Titled "Wiretap Dancing Around the Issues"
WASHINGTON – In what may be the biggest book deal bust in history, former wiretapper Barack Obama landed a deal for his memoir that will pay he and wife Michelle a reported $60 million for books from the two. Now we know what the working title for Mr. Obama's memoir will be. "I thought 'Wiretap Dancing Around the Issues' was a clever play on words, don't you think?" Obama asked. "You know, wiretapping and tap dancing around the truth were two of my favorite things to do during my time…Read More


text:
For a so-called President supposedly adverse to "fake news," it looks like Trump has no problem with fake Twitter followers.
Trump's Twitter account "says" he has 41 million followers, but if you investigate further, the bulk of these are picture-less accounts created "coincidentally" in May 2017. They bear other notorious characteristics of fake accounts. For instance, the fake accounts supposedly belong to an unusually high number of people from small, non-English speaking nations, and are strikingly similar in their lack of tweets or followers.
It's clear that Trump thinks everyone is as easily fooled as the dupes who voted to put him in office. An audit of Trump's account reveals that nearly half of the so-called people who "follow" him are fake.
Even with half of them fake, so-called President Trump's 31 million followers pales in comparison to Barack Obama's personal account of 89.2 million, which is why the emotionally stunted Trump may feel the need to pay for followers so he can pretend he's as loved as his predecessor.
From the size of his inauguration crowd, to his so-called "massive" Electoral Collage so-called "victory," Trump's need to be thought of as popular is, frankly… pathetic. One might also think that the Chief Executive of the most powerful nation on Earth would be too busy dealing with the world's problems, rather than embarrassing himself – and the country he pretends to represent – by revealing how desperately he needs people to think he's worthy of love.
Newsweek reports, "This isn't the first time someone has pointed out that a good portion of Trump's Twitter following is fake, but what's interesting is that its fakeness seems to be increasing. In January, journalist Yashar Ali ran an audit on Trump's Twitter account and found that 68 percent of his then-20 million followers were real. Now he's at 30 million followers, but only 51 percent are real, which means of 10 million followers Trump has gained since January, about 8.3 million are fake.
In April 2016, when Trump was beginning to gain traction as a serious candidate to at least win the Republican presidential nomination, the former reality TV star had a mere 7.58 million followers, only 8 percent of which were fake, according to FiveThirtyEight. It's not surprising that as Trump's global profile has skyrocketed in the past 13 months, so too have the number of bots attached to his Twitter account—but it's astonishing how much the percentage of his followers that are fake has risen."
Trump's not the only Republican to pretend he's more popular than he is. In 2011, Newt Gingrich made a case that he should be Republican president nominee due to his prodigious Twitter following. The only problem is, around 80% of Gingrich's twitter following was fake.
Trump's "popularity" is just another example of the smoke and mirrors Republicans employ to keep the dupes voting for their own demise.
Once again, let's ask ourselves to imagine if it were discovered that President Obama padded his Twitter following with nearly 50% fake accounts? It would be "breaking news" on Fox News while Republicans call for impeachment on the grounds was suffering from a mental disorder causing him to lie about such trivial matters. As we know, Republicans are not expected to be honest… much less, integrity.
- White Nationalists Throw Hate "Business Cards" at Black Woman - November 6, 2018
- Supposed Persecuted Trump supporter Scams Cons Out of $150,000 - November 5, 2018
- In 3 A.M. Tweet, Trump Complains he's the Real Victim of Mail Bombs - October 26, 2018
- Melania Trump Claims She's 'The Most Bullied Person in the World' and the Internet Groans - October 11, 2018
- Right Wingers Help Completely False Kremlin-Made Propaganda Video Go Viral - October 9, 2018
- Historian: Mitch McConnell is the "Gravedigger of American Democracy" - October 5, 2018
- Donald Trump Tried To Trick His Elderly Father Into Changing His Will - October 4, 2018
- Survey: Trump Surpasses 'Terrorism' as Germans' Greatest Fear - September 6, 2018
- Ron DeSantis Moderated Racist Facebook Group That Attacks Minorities, Parkland Survivors - August 30, 2018
- Architect: Betsy DeVos' Ostentatious McMansion Sucks - August 8, 2018


text:
Capital Street Inter markets Limited is a Global Business Company (GBC1) incorporated and regulated by the Financial Services Commission, Mauritius. It is fully licensed and regulated by the FSC Mauritius, as a Full Services Investment Dealer....
9th Floor, Ebene Tower, 52 Cybercity Ebene, Republic of Mauritius
Sunday: Closed
DJ 30 futures are currently trading at 25666- lower by 2.08% as compared to the previous close. The contract, however, closed in the positive territory in the last trading session.
In the Cash Markets, the DJIA fell about 135 points at the time of writing. U.S. equities dropped today after the country's President said that U.S. manufacturers should find alternatives to their operations in China.
The spread between the 10-year Treasury yield and the 2-year Treasury yield inverted again today after President Trump's comment.
The VanEck Vectors Semiconductor ETF fell 3.5% as stocks of Broadcom and Nvidia plunged. Caterpillar and Apple lost 2.89% and 4.14% respectively at the time of writing.
The U.S. president's statement comes after China announced earlier today that it will slap retaliatory tariffs against about $75 billion worth of U.S. goods. The tariffs will be implemented in two batches 1st September and 15th December. The tariffs will range between 5% and 10%.
Meanwhile, the Federal Reserve Chairman said in its speech from an annual central banking symposium earlier today that the U.S. central bank will do what it can to sustain the current economic expansion. Chairman Powell also said that after a decade of progress toward price stability and maximum employment, the economy is close to both goals.
Bank shares also fell on Friday. Goldman Sachs was down 2.60% at the time of writing.
Other top losers in the Dow Jones include American Express (down 3.26%), Intel Corp (down 3.78%), and 3M Co (down 3.24%) at the time of writing.
The 30-stock index is down about 0.5% for the week. The benchmark index is also down 4% in the month to date in August.
On the economic front, New Home Sales for July released earlier today came in at 635K. Sales were below the consensus estimates of 649K.
On the technical front, the RSI is currently at 40.56% and suggests that the market can move in the downward direction. The current price is below the MA5. The current price is below the middle line of the Bollinger Bands and is heading downwards.
Overall Bias is Negative and short-term trades can be initiated with tight Stop Loss and Take Profit targets.
Trade Suggestion-Limit Sell At 25700, Take Profit At 25570 Stop Loss At 25765
This website is owned and operated by Capital Street Intermarkets Limited, Level 6 GFin Tower, 42 Hotel Street Cybercity Mauritius. Capital Street Intermarkets Limited is a GBC authorized and regulated by the Financial Services Commission(FSC) of Mauritius as a Full Services Securities Dealer with the licence number C112010690.


text:
During this time, we as a church want to reach out to those in need: our elderly, our at-risk or high-risk members, our scared, our sick. We are here for you. If you need prescriptions picked up, or groceries, medicine, or other necessities, let us get these things for you. You may not need our help currently, but possibly in the days to come.
We have many staff and members who are willing and able to help. We have college kids who are at home now who can be delivery drivers. We can pick these things up for you and deliver them to you. We can leave them at your door, or on your porch. And we will pray for you as we do this for you. All you have to do is ask. Call us at 412-741-4900 or email us at email@example.com.
We realize that many people in need may not have computers or access to our website, email, and social media. We encourage you to call any members you know who may not see this message and let them know.
We are mobilizing. If you know of people in need, or if you'd like to help with this effort, let us know.
Let us be the hands and feet of Jesus, and may we be found faithful. May God's purpose be clear to us and may it all be for His glory and in His name.


text:
No Subject
I have a 10 month old son, he's had breathing problems since the age of 2 months. He's still too young to test for asthma, allergies... yet he's been hospitalized twice with RSV (respiratory synctial virus) in which the doctor put him on steroids and breathing treatments every 4 hours. Each hospitalization resulted in a 1 week stay, in which I was sent home with a nebulizer to continue treatments. It's been 6 months without any major symptoms and now he's at it again. It seems to be in sync with the weather changes. He's now back on Orapred 2x a day and xopenex (used with nebulizer) every 4 hours. His doctor stated to me that he wants to put my son on Singulair as soon as he overcomes this 'episode' as a preventative measure. I've been researching the internet and this medication has just recently been approved for children 12 months of age (my son is 10 months old). I'm worried about the possible side effects, some that are mentioned here, and with my son's age.. he isn't able to tell me of any symptoms he may experience with this medication. My question is.. are there any parents out there with children the age of my son, or thereabouts, who have tried this medication... and if so, how was the outcome. I'm a concerned mother, who doesnt want to see my son hospitalized again and on medications the rest of the season... but I also dont want to risk giving him a preventative medication that may cause other problems as well. Any advice will be greatly appreciated.
No Subject
My daughter is four and was put on Singulair for allergies when she was just over two. She had a chronic runny nose and chronic cough. The Singulair seemed to help with those symptoms. She still gets an occasional cold which hits her hard (she is currently on an oral steroid and zithromax after battling a cold for a month). Having said that, I describe her as "tough". She is moody, sometimes aggressive, sensitive, overly emotional, and always seems tired. I started to research if her tiredness could be because of the Singulair and found many of her tough personality traits sounded like some side effects other people were having. I'm very upset that I never put this together before and want to take her off this immediately but my doctor would like me to wait until she gets past this terrible cough. We just thought we were going through the terrible two's or that this is just who she is. But, I'm very anxious to find out, though I am worried about the allergy season approaching.
We went through the same thing with our son who took Singulair for 5 years for asthma. When we found out the adverse reactions had been updated, we realized that he had been suffering from them from the time he started taking Singulair at age 3! Please visit us at www.parentsforsafety.org. We are a group of concerned parents committed to educating others about the possible side effects of this drug. We are conducting research and advocating for labeling changes and other reforms. Please help!
|Thread Tools
|Display Modes
Linear Mode


text:
The discussion surrounding RDEX and the proposed addition of "AT" parameter (by klondike) to it resulted in the following proposition being formed to replace it and most future additions like it.
=== QS - Query String for Hubs in INF
This extension adds a new INF field QS sent to hubs containing the query string portion of the URI, and optionally any fragment, used to connect to it. This is done to address the fact that existing RF field in INF contains query string of the previous hub URI, if any, but hubs have no access to their own query string and thus no ability to deduce the fully qualified URI used to connect to them.
With this extension the query string portion of the URI may be used, within reason, to relay small amounts of information from a hub to the hub (for example during a redirect) if necessary. It should be noted that since the query string a user used to connect to a hub can be considered unhelpful to other clients on the hub it is at each hubs own discretion whether to filter this field out of outgoing INF broadcasts to other users.
If used in a hub to hub communication, the QS field should not be considered a fully qualified communication channel between two hubs but merely an additional tool to facilitate such co-operation.
|QS |The query string portion of the URI client used to connect to the hub, including an optional fragment.
The text presented above is proposed as a starting point and not necessarily anything final. Comments are appreciated.


text:
|El Goonish Shive
|Part 8 - Clean Up: Comic for Friday, Jan 24, 2003
|"Run Tedd, Run!"
|Comic number: 0267
|Previous Comic
|Part 8 - Clean Up: Comic for Thursday, Jan 23, 2003
|Next Comic
|Part 8 - Clean Up: Comic for Monday, Jan 27, 2003
|Read Comic
Cast AppearingEdit
- Tedd's house
First Mention or Appearance OfEdit
|And so, Ellen introduced herself to each individual present. None laughed, be it due to compassion, or fear of Nanase's wrath. Nanase carried Ellen throughout the process, until Ellen was finally introduced to all. Nanase then placed Ellen on the sofa next to Susan (and Jeremy, who was still holding Susan captive).
|Uncle, if you have questions for Ellen, ask them now, with all of us here. I'm not leaving her alone with you again.
|Mr. Verres
|...Very well. All I really wanted to know was if there were any noticeable side effects to her being the duplicate.
|Over than being an emotional wreck? ...Well... I can shoot what appears to be a transformation beam from my hand. I think it's just female variant #5, like on the gun...
|Mr. Verres
|...Interesting... Well, there's a safe way to be certain. Tedd has a device in the lab that can determine what any blast from the gun would do if used on someone. In effect, this device eliminates any need one would have to test any beams on an actual person. ...Come to think of it, it leaves me somewhat perplexed as to how this whole fiasco got started, what with such a useful device handy...
|Ellen and Elliot
|Why father, what is this "device" you speak of? I have no such thing!
|No Tedd, you do! Don't you remember? It's next to the washing machine.
|...Thanks, Grace...
Community content is available under CC-BY-SA unless otherwise noted.


text:
I can't really give you details because I never made any benchmarks, but
I don't think there is any difference. PHP uses the MySQL client
library, and if you use native JDBC drivers for MySQL, you end up using
the exact same library. In both cases, the slow down does not come from
the client library anyway, it comes from the server actually processing
the request (which isn't long anyway, in most cases).
At that level, the language you choose for your application is a matter
of convenience.
Louis-Philippe Huberdeau
Rajesh Kapur wrote:> Does PHP work better than Java with MySQL? What are pros and cons of using
> PHP vs Java? Which one is faster?
> Can someone share the experience or point me to some good white papers or
> benchmarks? Thanks.


text:
LSE Cities is an international centre at the LSE that carries out research, graduate and executive education and outreach activities in London and abroad. London School of Economics and Political Science Houghton Street London. The MPhil/PhD Cities offers the chance to undertake a substantial piece of that is worthy of publication and which makes an original contribution to urban studies. Students begin on the MPhil, and are upgraded to PhD status after. 2019/12/27 · The Programme offers MSc and PhD degrees through the Department of Sociology and is associated with LSE Cities. About the MSc in City Design and Social Science This unique master's degree programme provides the opportunity to study city. LSE Cities is an international centre at the London School of Economics and Political Science that studies how people and cities interact in a rapidly urbanising world, focussing on how the design of cities impacts on society, culture.
Tim White, a Researcher at LSE Cities, has been awarded an ESRC Scholarship to pursue his PhD project on the Cities Programme at the LSE. The project will examine a pivotal response to the intensifying housing crises facing. LSE Cities is a research centre at the London School of Economics and Political Science. The purpose of the centre is to increase knowledge and understanding of how people and cities interact in a rapidly urbanising world, focusing.
2019/12/26 · PhD programmes What we offer LSE is one of the world's leading social science research and teaching centres. Student life at LSE is cosmopolitan and challenging, set at the heart of a major city and surrounded by. The MPhil/PhD Human Geography and Urban Studies aims to: i provide advanced knowledge of the principles and conceptual foundations of human geographic and urban social science research, and with the research skills and. The latest Tweets from LSE Cities @LSECities. LSE Cities is an international centre carrying out research, education, outreachadvisory activities in the urban field at @LSEnews. Tweets for @UrbanAge_. London, UK.
PhD students at UPD Cluster, LSE Geography & Environment presented at AAG 2019 held in Washington, DC on 3-7 April 2019. Jeanne Firth, presents / Foodscape Lagniappe: Philanthropy in the 'new' New Orleans @ session. A WORLDWIDE INVESTIGATION INTO THE FUTURE OF CITIES BY LSE CITIES AT THE LONDON SCHOOL OF ECONOMICS AND THE ALFRED HERRHAUSEN GESELLSCHAFT. Urban Age Developing. THE URBAN AGE. PhD Cities Programme, London School of Economics & Political Science MPhil upgrade completed March 2011 Postgraduate Certificate in Higher Education, Teaching & Learning Centre, LSE MSc Sociology Research with. 2018/10/22 · Based at LSE Cities, an international research centre at the London School of Economics and Political Science, the Executive MSc in Cities brings together experts from across LSE and its wider global network to help urban. Ricky Burdett is Professor of Urban Studies at LSE and Director of the Urban Age and LSE Cities, a global centre of research and teaching at LSE which received the Queen's Anniversary Prize for Higher and Further Education 2016.
Welcome to LSE Theses Online Welcome to LSE Theses Online, the online archive of PhD theses for the London School of Economics and Political Science. LSE Theses Online contains a partial collection of completed and. "Minnesota is one of the finest economics departments in the world. The training is very rigorous and students are encouraged to integrate cutting edge techniques to their applied work. The department has an intense, yet friendly. Nathan, Max 2011 The economics of cultural diversity: lessons from British cities. PhD thesis, The London School of Economics and Political Science LSE. Abstract This thesis examines the economic effects of cultural.
Zápal, Jan 2012 Dynamic group decision making. PhD thesis, The London School of Economics and Political Science LSE. Hansen, James 2012 Distortions in financial markets and monetary policy. PhD thesis, The London. The LSE Cities Scholarships are intended to provide financial assistance to outstanding Executive MSc in Cities applicants in the private, public and third sectors who would not be otherwise able to meet the cost of tuition fees. MPhil/PhD in Regional and Urban Planning Introduction Our programme is unique among graduate planning schools in being based upon the disciplines of social science, particularly economics, geography, politics and social policy. PhD thesis, London School of Economics and Political Science LSE. Lord, Ceren 2014 Rethinking religio-politics in Turkey through the prism of religious majoritarianism. Grainger, Alex 2013 Alternative forms of power in East Timor 1999- 2009: a historical perspective.
Assistant/Associate Professorial Lecturer ECT Department of Economics. We use cookies to offer you a better experience, personalize content, tailor advertising, provide social media features, and better understand the use of our services. To learn more or modify/prevent the use of cookies, see our Cookie. 経済学研究水準世界ランキングで20位以内に入る London School of Economics LSE。イギリスの大学院なので、アメリカとは幾つか異なる点がある。そういった点をまとめた。2007年5月追記:石原君が MRes/PhD コースの1年目の授業の. This thesis investigates how objectives of integrating urban planning, city design and transport policies have been pursued in key case study cities as part of a compact city agenda since the early 1990s. Focusing on the underlying.
I am in the final year of my PhD in the Cities Programme at the LSE. My research explores residents' experiences of purpose built mixed-tenure housing developments in London, with a particular focus on the role played by policy. Kippenberg and James Schofield, all LSE Cities, London School of Economics and Political Science, UK. Additional authors: Max Nathan, Research Fellow, LSE Cities and PhD.
LSE's Institutional Virtual Learning Environment. How to 'Release' grades and feedback in Moodle! It's this time of the year! Don't forget to Release grades and feedback to students! Remind yourself how to do it! go to tinyurl. Please use the link in the footer to log a helpcall with the relevant team Form=SRV -35 Missing MUA UNKNOWN ckey= PRA=SIW_IPP_TAB MUA=UNKNOWN USR=UNKNOWN MST=UNKNOWN. About FindAPhD We've been helping students find and compare PhD research projects and programmes for over 15 years. As well as listing doctoral opportunities and scholarships, we also provide a wide range of advice funding.
Outlast Xboxストア 2020年
Fifa 15 Png 2020
Yahoo Finance Tmus 2020年
Bmw 6シリーズ22インチホイール 2020年
5分数形式で8で除算 2020
700000 GbpへUSD 2020年
テーマGalaxy Apkダウンロード 2020年
ウエストウッドデザインでテイラー4で1ベビーベッド 2020
2019 Ram 5500販売用 2020 Nián
Swizz Beatz Album 2018 2020 Nián
ジョーダンXxxiiブラック 2020年
545 USDへIDR 2020 Nián
8 Rtdバススケジュール
Uggsサイズ12幼児 2020年
Apple Ipad Pro 10.5インチ64GB 2020
Imdb Bollywood 2017 2020年
Mz Wallace Saleノードストローム
1日30グラムの砂糖が多すぎる 2020
Appleギフトカードはコードを無料で引き換えます 2020 Nián
Spectre X360 13tレビュー 2020年
Aglio Olioの発音 2020年
Geox Shahiraスニーカー
08フォルクスワーゲンEos 2020
無料ダウンロードMendeley Desktop 64ビット
英語Phdハーバード 2020 Nián
90 Cmはインチ
Alte Haas Groteskフォント 2020 Nián
Dk Ultimate Family Visual Dictionary 2020
Nlp機械学習プロジェクト 2020
Iphone 7 PlusサイズとIphone 8 2020年
コダックアドバンティックスC300 2020 Nián
Wix Art Storeの価格 2020
Seo Adwordsキーワード 2020 Nián
Jonsered 2サイクルオイル 2020年
すべてのDmcフロスの色 2020 Nián
アメリカのable話の終わりはRedditを説明した 2020
近くのBMOバンク 2020 Nián
sitemap 0
sitemap 1
sitemap 2
sitemap 3
sitemap 4
sitemap 5
sitemap 6


text:
Sporting Clays is a shotgun sport that involves shooting clay disks launched into the air to replicate the flight of game birds. To do well at Sporting Clays takes concentration and practice. The first time I met my Sporting Clays coach, he said, "You must learn to shoot left-handed, or I won't work with you."
As a right handed person, learning to shoot left handed has become a sort of rallying cry for me encompassing all the seemingly impossible things required to be my best, whole, healthy self. This is not just about becoming proficient at my favorite sport. Learning to shoot left-handed is a metaphor for what I must do to be the kind of person I want to be.
I sought out a coach because I want to get better. I am right-handed but left eye dominant. Only about one-third of the population is estimated to have this cross configuration. This means I do all the practical things like writing, reaching for something, tennis, and shooting with my right hand. Yet, my brain uses my left eye to register detail at a distance or to focus on something. I can see out of my right eye, but that eye takes a backseat to the stronger left eye.
My coach knows that learning to hold my shotgun from the left side properly will be very hard, but he knows too that I'll never get beyond my current level of proficiency if I don't train myself to do it.
There are a lot of habits and ways of being and thinking in my life that have become "natural" or engrained, kind of like using my right hand. Some researchers even believe that people with left eye dominance that are right-handed were really left-handed but pushed toward the right hand by well-meaning teachers and parents at a young age.
Whatever you do over and over becomes the pattern or "natural" way you respond or act.
Many of us learn how to do things by watching others or through training that may not be optimal. A pathway gets created in the brain from the repetition leading to "the way we do things."
Some brain pathways for doing things are very bad for us and those around us. Some things are not really bad but not optimal. Jesus came to earth to make us good, the way he knows we were designed to be for eternity. We are genetically designed to live for ever some place. Our time on this earthly plane is limited. It's our practice field.
Practice makes perfect. I'm learning to shoot left handed because I want to be the best I can be. I appreciate the tough-love of my coach. He values his time, and he wants to ensure that my time leads to my stated goal – to be the best I can be at Sporting Clays.
Why would the coach spend his time with a student unwilling to take the most important step toward the goal? Why would I waste my time repeating a practice that will never get me any farther than I am right now?
In my daily relating to people, I'm working toward the equivalent of learning to shoot left-handed. I'm committed to love, joy, peace, patience, goodness, kindness, faithfulness, gentleness, and self-control (Galatians 5:22). It's so very hard, but I'm in it to win it. I don't want to waste time while here on earth not striving to maximize my potential. There are so many ways I've learned to react and deal based on covering up pain or sin.
I call out to Jesus for help. He's there for me, but he, like the coach, can't coddle me, can't lie to me. Jesus too says, "You've got to learn to do it a different way than what feels comfortable because that's not my way, not the best way."
Photo by Piotr Wilk on Unsplash