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比莉·哈樂黛(又名：比莉·荷莉戴、Billie Holiday，1915年4月7日—1959年7月17日），出生于美國費城，美國歌手。1937年，比莉·哈樂黛加入堪薩斯城貝西伯爵管弦樂團的巡回演出。1939年，比莉·哈樂黛演唱歌曲《Strange Fruit》來抨擊種族隔離時期白人動用私刑處決黑人一事。

雖然貴為爵士樂樂壇的天后級巨星，但在比莉有生的日子里，生活卻是動蕩不安的，鮮少安定。出生在單親家庭的比莉·哈樂黛，因為父親母親的不管不顧，令她從小一人長大，而這在她勇于冒險精神的同時，也讓她形成自虐傾向。十幾歲在酒吧里唱歌的比莉，當時收入極為菲薄，二十歲正式開始自己的音樂事業(yè)，并錄制了爵士專輯后，開始有了名氣的她因為膚色的緣故一直受著不平等的待遇，以致她吸過毒，坐過監(jiān)獄、又酗酒。在經過了1939—1949這十年間的鼎盛時期，1950年，比莉開始走下坡路。1959年孤獨離開人世。

人物經歷

若論演唱技巧，比莉·荷莉戴比不上另一位天后級的爵士歌手艾拉·費茲潔拉，但從詮釋歌曲深度方面來說，確實無人能與之相比。聽比莉唱歌，很少有人不被感動到落淚的。與其說她是在唱歌，還不如說她是在娓娓道出令人心碎的故事來得更確切，她的音域雖不寬廣，但卻滲透出生命幻滅的悲壯，令她在離開多年后。仍被無數歌手視作最崇敬的對象。

比莉·荷莉戴的一生和她的音樂一樣苦澀晦暗。來自破碎的家庭，出生的時候父母都還是未婚的毛頭小鬼，在平民窟里掙扎長大，她的父親Clarence Holiday從未娶過母親，很早就拋棄了他的家庭，而她母親也不是一個好的典范。十歲被強暴后就淪為雛妓。比莉在很大程度上說是獨自一人長大的，終身自卑的感覺一直纏繞著她。

直到15歲在紐約一家夜總會里表演被制作人John Hammond發(fā)現，比莉·荷莉戴的日子才有一點光采。雖然她的歌唱技巧不是頂佳完美的，但是嗓音里有一股自信和許多歷練的記號，以致后來許多作曲編曲及樂手主動和她合作錄制唱片。她的嗓音有另外一個特點就是“擬樂器化”，扁扁平平但是飽滿豐富的次中音薩克斯管特別相像。

1930年到1940年，比莉·荷莉戴錄制了好幾首在爵士樂史上占有非常重要位置，也奠定她在爵士樂史上位置的歌曲。例如和薩克斯大師Lester Young的作品集、和搖擺大樂團指揮計數 Basie及Artie Shaw的作品，以及1939年所發(fā)表的《Strange Fruit》和非常富有藍調感覺的《Fine&Mellow》等作品。

《Strange Fruit》是最受爭議的一首曲子，所謂的“奇異果”其實指的是美國三K黨及種族極端主義者把黑奴吊死在樹上的景象，比莉·荷莉戴把黑人的怒氣爆發(fā)了出來，不只贏得了黑人的同感也贏得白人的尊敬。

1935年，比莉·荷莉戴與Duke Ellington一起出演電影《黑色交響樂》。

1937年，比莉·荷莉戴與堪薩斯城貝西伯爵管弦樂團合作。

雖然比莉·荷莉戴的事業(yè)已經達到了巔峰，卻也加速了她的死亡。她一直逃不出她童年悲苦命運的陰影，只好從乙醇及麻藥中去尋找避難所，20多歲就有嚴重酗酒的記錄，直到最后一天的日子里，她的生命里就只有唱歌、烈酒、大麻和海洛因，還有無數令她傷心欲絕的男人。

1950年以后，比莉·荷莉戴開始走下坡路，她的音質下滑很快，不愉快的個人生活使她感到沮喪，而且她繼續(xù)酗酒和吸食海洛因。

1959年，44歲的荷莉戴病毒發(fā)作死在醫(yī)院里，身邊也沒有親人，只有一群原本要捉她去戒毒所的警察。

美國巴爾的摩（比莉·荷莉戴的故鄉(xiāng)）在Pennsylvania和Lafayette大道路口有一座3公尺高的比莉·荷莉戴銅像。比莉·荷莉戴的唱片在她去世后，幾乎她所有的歌曲都被制成了CD。

1999年，Billie Holiday在VH1電視臺評選的“搖滾史上最偉大的百位女歌手”中排名第6位。

主要作品

《strange fruit》

《God bless the child》

《巴黎的四月》

《Georgia on my mind》

《Gloomy Sunday》

《Easy Living》

《Do Your Duty》

演唱專輯

演唱單曲

作品展示

Billie Holiday'Introduction

The first popular 爵士樂 singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. Almost fifty years after her 死亡, it's difficult to believe that prior to her emergence, 爵士樂 and pop singers were tied to the Tin pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, "I always wanted Bessie's big sound and Pops' feeling"), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.

With her 精神 shining through on every recording, Holiday's technical expertise also excelled in comparison to the great majority of her contemporaries. Often bored by the tired old Tin pan Alley songs she was forced to record early in her career, Holiday fooled around with the beat and the melody, phrasing behind the beat and often rejuvenating the standard melody with harmonies borrowed from her favorite horn players, Armstrong and Lester Young. (She often said she tried to sing like a horn.) Her notorious private life a series of abusive relationships, substance addictions, and periods of depression undoubtedly assisted her legendary status, but Holiday's best performances ("Lover Man," "Don't Explain," "Strange Fruit," her own composition "God Bless the Child") remain among the most sensitive and accomplished vocal performances ever recorded. More than technical ability, more than purity of voice, what made Billie Holiday one of the best vocalists of the century easily the 相等 of Ella Fitzgerald or Frank Sinatra was her relentlessly individualist temperament, a quality that colored every one of her endlessly nuanced performances.

Billie Holiday's chaotic life reportedly began in Baltimore on April 7, 1915 (a few reports say 1912) when she was born Eleanora Fagan Gough. Her father, Clarence Holiday, was a teenaged jazz guitarist and banjo player later to play in Fletcher Henderson's Orchestra. He never married her 母親, Sadie Fagan, and left while his daughter was still a baby. (She would later run into him in New York, and though she contracted many guitarists for her sessions before his 死亡 in 1937, she always avoided using him.) Holiday's 母親 was also a young teenager at the time, and whether because of inexperience or neglect, often left her daughter with uncaring relatives. Holiday was sentenced to Catholic reform school at the age of ten, reportedly after she admitted being raped. Though sentenced to stay until she became an adult, a family friend helped get her released after just two years. With her 母親, she moved in 1927, first to New Jersey and soon after to Brooklyn.

In New York, Holiday helped her mother with domestic work, but soon began moonlighting as a prostitute for the additional income. According to the weighty Billie Holiday legend (which gained additional credence after her notoriously apocryphal autobiography Lady Sings the Blues), her big singing break came in 1933 when a laughable dancing audition at a speakeasy prompted her accompanist to ask her if she could sing. In fact, Holiday was most likely singing at clubs all over New York City as early as 1930-31. Whatever the true story, she first gained some publicity in early 1933, when record producer John Hammond only three years older than Holiday herself, and just at the beginning of a legendary career wrote her up in a column for Melody Maker and brought Benny Goodman to one of her performances. After recording a demo at Colombia Studios, Holiday joined a small group led by Goodman to make her commercial debut on November 27, 1933 with "Your 母親's Son-In-Law."

Though she didn't return to the studio for over a year, Billie Holiday spent 1934 moving up the rungs of the competitive New York bar scene. By early 1935, she made her debut at the Apollo Theater and appeared in a one-reeler film with Duke Ellington. During the last half of 1935, Holiday finally entered the studio again and recorded a total of four sessions. With a pick-up band supervised by pianist Teddy Wilson, she recorded a series of obscure, forgettable songs straight from the gutters of Tin Pan Alley in other words, the only songs available to an obscure 黑色 band during the mid-'30s. (During the Swing era, 音樂 publishers kept the best songs strictly in the hands of society orchestras and popular white singers.) Despite the poor song quality, Holiday and various groups (including trumpeter Roy Eldridge, alto Johnny Hodges, and tenors Ben Webster and Chu Berry) energized flat songs like "What a Little Moonlight Can Do," "Twenty-Four Hours a Day" and "If You Were Mine" (to say nothing of "Eeny Meeny Miney Mo" and "Yankee Doodle Never Went to Town"). The great combo playing and Holiday's increasingly assured vocals made them quite popular on Colombia, Brunswick and Vocalion.

During 1936, Holiday toured with groups led by Jimmie Lunceford and Fletcher Henderson, then returned to New York for several more sessions. In late January 1937, she recorded several numbers with a small group culled from one of Hammond's new discoveries, Count Basie's Orchestra. Tenor Lester Young, who'd briefly known Billie several years earlier, and trumpeter Buck Clayton were to become especially attached to Holiday. The three did much of their best recorded work together during the late '30s, and Holiday herself bestowed the nickname Pres on Young, while he dubbed her Lady Day for her elegance. By the spring of 1937, she began touring with Basie as the female complement to his male singer, Jimmy Rushing. The association lasted less than a year, however. Though officially she was fired from the band for being temperamental and unreliable, shadowy influences higher up in the publishing world reportedly commanded the action after she refused to begin singing '20s female blues standards.

At least temporarily, the move actually benefited Holiday less than a month after leaving Basie, she was hired by Artie Shaw's popular band. She began singing with the group in 1938, one of the first instances of a 黑色 female appearing with a white group. Despite the continuing support of the entire band, however, show promoters and radio sponsors soon began objecting to Holiday based on her unorthodox singing style almost as much as her race. After a series of escalating indignities, Holiday quit the band in disgust. Yet again, her judgment proved valuable; the added freedom allowed her to take a gig at a hip new club named Café Society, the first popular nightspot with an inter-racial audience There, Billie Holiday learned the song that would catapult her career to a new level: "Strange Fruit."

The standard, written by Café Society regular Lewis Allen and forever tied to Holiday, is an anguished reprisal of the intense racism still persistent in the South. Though Holiday initially expressed doubts about adding such a bald, uncompromising song to her repertoire, she pulled it off thanks largely to her powers of nuance and subtlety. "Strange Fruit" soon became the highlight of her performances. Though John Hammond Refused to record it (not for its politics but for its overly pungent imagery), he allowed Holiday a bit of leverage to record for Commodore, the label owned by 爵士樂 record-store owner Milt Gabler. Once released, "Strange Fruit" was banned by many radio outlets, though the growing jukebox industry (and the inclusion of the excellent "Fine and Mellow" on the flip) made it a rather large, though controversial, hit. She continued recording for Colombia labels until 1942, and hit big again with her most famous composition, 1941's "God Bless the Child." Gabler, who also worked A&R for Decca, signed her to the label in 1944 to record "Lover Man," a song written especially for her and her third big hit. Neatly side-stepping the musician's union ban that afflicted her former label, Holiday soon became a priority at Decca, earning the right to top-quality material and lavish string sections for her sessions. She continued recording scattered sessions for Decca during the rest of the '40s, and recorded several of her best-loved songs including Bessie Smith's "'Tain't Nobody's Business If I Do," "Them There Eyes," and "Crazy He Calls Me."

Though her artistry was at its peak, Billie Holiday's emotional life began a turbulent period during the mid-'40s. Already heavily into 乙醇 and marijuana, she began smoking opium early in the decade with her first husband, Johnnie Monroe. The marriage didn't last, but hot on its heels came a second marriage to trumpeter Joe Guy and a move to heroin. Despite her triumphant concert at New York's Town Hall and a small film role as a maid (!) with Louis Armstrong in 1947's New Orleans, she lost a good deal of money running her own orchestra with Joe Guy. Her 母親's 死亡 soon after affected her deeply, and in 1947 she was arrested for possession of heroin and sentenced to eight months in prison.

Unfortunately, Holiday's troubles only continued after her release. The drug charge made it impossible for her to get a cabaret card, so nightclub performances were out of the question. Plagued by various celebrity hawks from all portions of the underworld (jazz, drugs, song publishing, etc.), she soldiered on for Decca until 1950. Two years later, she began recording for jazz entrepreneur Norman Granz, owner of the excellent labels Clef, Norgran, and by 1956, Verve. The recordings returned her to the small-group intimacy of her Colombia work, and reunited her with Ben Webster as well as other top-flight musicians such as Oscar Peterson, Harry "Sweets" Edison, and Charlie Shavers. Though the ravages of a hard life were beginning to take their toll on her voice, many of Holiday's mid-'50s recordings are just as intense and beautiful as her classic work.

During 1954, Holiday toured Europe to great acclaim, and her 1956 autobiography brought her even more fame (or notoriety). She made her last great appearance in 1957, on the CBS TELEVISION special The Sound of 爵士樂 with Webster, Lester Young, and Coleman Hawkins providing a close backing. One year later, the Lady in Satin LP clothed her naked, increasingly hoarse voice with the overwrought strings of Ray Ellis. During her final year, she made two more appearances in Europe before collapsing in May 1959 of heart and liver disease. Still procuring heroin while on her 死亡 bed, Holiday was arrested for possession in her private room and died on July 17, her system completely unable to fight both withdrawal and heart disease at the same 時間 Her cult of influence spread quickly after her 死亡 and gave her more fame than she'd enjoyed in life. The 1972 biopic Lady Sings the Blues featured Diana Ross struggling to overcome the conflicting myths of Holiday's life, but the film also illuminated her tragic life and introduced many future fans. By the digital age, virtually all of Holiday's recorded material had been reissued: by Colombia (nine volumes of The Quintessential Billie Holiday), 迪卡唱片 (The Complete Decca Recordings), and Verve (The Complete Billie Holiday on Verve 1945-1959).