比莉·哈乐黛(又名：比莉·荷莉戴、Billie Holiday，1915年4月7日—1959年7月17日），出生于美国费城，美国歌手。1937年，比莉·哈乐黛加入堪萨斯城贝西伯爵管弦乐团的巡回演出。1939年，比莉·哈乐黛演唱歌曲《Strange Fruit》来抨击种族隔离时期白人动用私刑处决黑人一事。

虽然贵为爵士乐乐坛的天后级巨星，但在比莉有生的日子里，生活却是动荡不安的，鲜少安定。出生在单亲家庭的比莉·哈乐黛，因为父亲母亲的不管不顾，令她从小一人长大，而这在她勇于冒险精神的同时，也让她形成自虐倾向。十几岁在酒吧里唱歌的比莉，当时收入极为菲薄，二十岁正式开始自己的音乐事业，并录制了爵士专辑后，开始有了名气的她因为肤色的缘故一直受着不平等的待遇，以致她吸过毒，坐过监狱、又酗酒。在经过了1939—1949这十年间的鼎盛时期，1950年，比莉开始走下坡路。1959年孤独离开人世。

若论演唱技巧，比莉·荷莉戴比不上另一位天后级的爵士歌手艾拉·费兹洁拉，但从诠释歌曲深度方面来说，确实无人能与之相比。听比莉唱歌，很少有人不被感动到落泪的。与其说她是在唱歌，还不如说她是在娓娓道出令人心碎的故事来得更确切，她的音域虽不宽广，但却渗透出生命幻灭的悲壮，令她在离开多年后。仍被无数歌手视作最崇敬的对象。

比莉·荷莉戴的一生和她的音乐一样苦涩晦暗。来自破碎的家庭，出生的时候父母都还是未婚的毛头小鬼，在平民窟里挣扎长大，她的父亲Clarence Holiday从未娶过母亲，很早就抛弃了他的家庭，而她母亲也不是一个好的典范。十岁被强暴后就沦为雏妓。比莉在很大程度上说是独自一人长大的，终身自卑的感觉一直缠绕着她。

直到15岁在纽约一家夜总会里表演被制作人John Hammond发现，比莉·荷莉戴的日子才有一点光采。虽然她的歌唱技巧不是顶佳完美的，但是嗓音里有一股自信和许多历练的记号，以致后来许多作曲编曲及乐手主动和她合作录制唱片。她的嗓音有另外一个特点就是“拟乐器化”，扁扁平平但是饱满丰富的次中音萨克斯管特别相像。

1930年到1940年，比莉·荷莉戴录制了好几首在爵士乐史上占有非常重要位置，也奠定她在爵士乐史上位置的歌曲。例如和萨克斯大师Lester Young的作品集、和摇摆大乐团指挥计数 Basie及Artie Shaw的作品，以及1939年所发表的《Strange Fruit》和非常富有蓝调感觉的《Fine&Mellow》等作品。

《Strange Fruit》是最受争议的一首曲子，所谓的“奇异果”其实指的是美国三K党及种族极端主义者把黑奴吊死在树上的景象，比莉·荷莉戴把黑人的怒气爆发了出来，不只赢得了黑人的同感也赢得白人的尊敬。

1935年，比莉·荷莉戴与Duke Ellington一起出演电影《黑色交响乐》。

1937年，比莉·荷莉戴与堪萨斯城贝西伯爵管弦乐团合作。

虽然比莉·荷莉戴的事业已经达到了巅峰，却也加速了她的死亡。她一直逃不出她童年悲苦命运的阴影，只好从乙醇及麻药中去寻找避难所，20多岁就有严重酗酒的记录，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，还有无数令她伤心欲绝的男人。

1950年以后，比莉·荷莉戴开始走下坡路，她的音质下滑很快，不愉快的个人生活使她感到沮丧，而且她继续酗酒和吸食海洛因。

1959年，44岁的荷莉戴病毒发作死在医院里，身边也没有亲人，只有一群原本要捉她去戒毒所的警察。

美国巴尔的摩（比莉·荷莉戴的故乡）在Pennsylvania和Lafayette大道路口有一座3公尺高的比莉·荷莉戴铜像。比莉·荷莉戴的唱片在她去世后，几乎她所有的歌曲都被制成了CD。

1999年，Billie Holiday在VH1电视台评选的“摇滚史上最伟大的百位女歌手”中排名第6位。

《strange fruit》

《God bless the child》

《巴黎的四月》

《Georgia on my mind》

《Gloomy Sunday》

《Easy Living》

《Do Your Duty》

Billie Holiday'Introduction

The first popular 爵士乐 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, 爵士乐 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 母亲, 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 母亲 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 母亲, 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 母亲'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, 音乐 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 爵士乐 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 母亲'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 爵士乐 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 时间 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).

1985年，在美国巴尔的摩的宾夕法尼亚大道上树立了一座比莉·哈乐黛纪念碑，用以纪念传奇人物“戴女士”（Lady Day）（原名埃莉诺拉·费根）。这座纪念碑旨在缅怀她不平凡的一生和成就。1994年9月18日，美国邮政公司发行了一枚由美国邮政公司赞助的邮票来纪念比莉·哈乐黛。

参考资料

比莉·哈乐黛一直都是最有名的爵士乐女歌手，甚至在她逝世40年后，还是如此，她有一副音量不高而且也不吵杂的嗓音，但她的创新意识却使她在音乐界具有很大的影响力。她将自己的感情融入她所演唱的歌曲中，这给人留下了深刻的印象，有些时候她的全身心投入甚至会让身边的人感到震惊。（搜狐音乐评）

比莉·哈乐黛是Cafe Society最出名的驻场歌手，她身材曼妙，喜欢在梳得纹丝不乱的黑发里别一朵栀子。她的嗓音既不圆润也不甜美，动人心魄的悲切感成了她的标签。（外滩画报评）

年轻时的比莉·哈乐黛嗓音轻灵，充满天赋的歌唱有着颠转世界的神奇魔力。她总是知道怎样让她的歌声变得更好，她的声音总是从藏匿着罗曼蒂克爱情的黑暗角落绽开光芒。（新浪音乐评）

比莉·哈乐黛对爵士乐和流行音乐产生了深远的影响，她声乐风格受到爵士乐器乐家的强烈启发，开创了一种处理乐句和节奏的新方法。（新浪娱乐评）

比莉·哈乐黛具有表达力的独特风格以及颇为个性化的演唱方式曾经使得全球数百万听众为之沉醉，她还对后来很多的爵士乐歌手产生了直接的影响和激励作用。（格莱美奖评）

比莉·哈乐黛好斗又脆弱，腼腆又进取，是个烈火一般满嘴脏话的斗士。比莉·哈乐黛通过性爱和痛苦感受人生。后者缓缓地反噬她，吸走她的健康和自信，最终把她拖进坟墓。（澎湃新闻评）