Billie Holiday's label refused to release 'Strange Fruit,' a protest song about lynching, because of fears of negative reactions from southern retailers.

Billie Holiday ensured performances of 'Strange Fruit' had the right context

In the song's earliest performances at Cafe Society in New York, one of a few truly integrated nightclubs in the society, the song was always performed last, after bar service had stopped, with a single spotlight on Holiday so audiences would pay close attention to the lyrics. Later, Holiday included her ability to perform the song in her concert contracts, allowing her to sing it even if venue owners were nervous about its protest message.

The poem behind 'Strange Fruit'

"Bitter Fruit" was written by Abel Meeropol, a teacher, under the pseudonym Lewis Allen, after seeing a photograph of a lynching. Eventually, he set the words to music, and the song was then performed by his wife and other singers. In 1938, he played it for Holiday, who began performing it at the New York's Cafe Society. (Some users may experience a paywall.)

There's no proof that the government pursued Holiday because of 'Strange Fruit'

Music writer Lewis Porter disputes the events of "The United States vs. Billie Holiday," a 2022 film that dramatized the Federal Bureau of Narcotics' pursuit of the jazz legend. Porter notes that the FBN did indeed target Holiday, but believes it's important to note that it wasn't necessarily for the release of the protest song.

Jazz provided a soundtrack for the Civil Rights Movement

Songs like Billie Holiday's "Strange Fruit," which portrayed the grim brutality of lynching, and John Coltrane's "Alabama," which was modeled on the rhythm of a speech by Martin Luther King Jr., were the backbeat of the movement.

Days after her release from prison, Billie Holiday sold out Carnegie Hall

The jazz icon was released early from federal prison on good behavior. Following her arrest, she was effectively prohibited from performing in New York's nightclubs, but she realized she could still perform, so long as it was in a venue that hadn't been deemed a "cabaret." The solution? The famous Carnegie Hall. The show sold out within a week, and the venue became a regular stop for Holiday, who performed there 22 times.

As a girl, Billie Holiday fell in love with music while scrubbing the floors of a brothel

Record players were rarities in the 1920s, but Holiday had access to one at Alice Dean's, the brothel in Baltimore where she scrubbed floors. It was there that she listened to her heroes, Louis Armstrong and Bessie Smith.

Billboard's early music charts were racially segregated

In 1942, the publication introduced the Harlem Hit Parade chart, listing the top 10 records sold at select record stores in the majority-Black borough of New York. In 1945, it changed the chart’s name to Most Played Juke Box Race Records, using the music industry term (“race record”) that identified recordings by Black artists, even if they played music markedly similar to the white artists on the other charts.

Augusta Savage's masterpiece was destroyed after a limited exhibition

"Life Every Voice and Sing," sometimes called "The Harp," debuted at the 1939 New York World's Fair. Based on the James Weldon Johnson poem (and eventual unofficial Black national anthem) of the same name, the massive, 16-foot-tall sculpture depicted a kneeling Black man holding a bar of music in front of 12 chorus singers. After the fair ended in 1940, Savage was unable to pay to preserve it, so it was destroyed.

The federal agents who followed Billie Holiday

After the success of "Strange Fruit," the Federal Bureau of Narcotics began surveilling Holiday on suspicion that she was using heroin. Jimmy Fletcher, an agent tasked with following her to clubs and parties, later said that they became quite close. "She was the type who would make anyone sympathetic because she was the loving type," he was reported as saying.

Watch Billie Holiday perform in 'The Sound of Jazz'

The 1957 CBS special, part of its series "The Seven Lively Arts," was a landmark broadcast that brought some of jazz's biggest names—including Holiday, Thelonious Monk, and Count Basie—to a national audience. Watch Holiday offer a stirring rendition of "Fine and Mellow" below.

Before becoming a country superstar, Dolly Parton recorded girl group-style singles as a teenager, including one that became a hit outside the US

The story of Billie Holiday's final performance

In her final days, Holiday was still performing—often at clubs outside of New York—though she was struggling with cirrhosis, an effect of her alcoholism. This excerpt from Paul Anderson's "Bitter Crop: the Heartache and Triumph of Billie Holiday's Final Year" details her final show in Lowell, Massachusetts, offering a tragic portrait of the singer running out of steam.

Watch Billie Holiday's only feature film appearance in 'New Orleans'

The 1947 film wasn't known for its sophisticated plot, which mainly centers on a white opera singer who learns about the beauty of blues and jazz. It's more notable for featuring some of those genre's biggest stars, including Holiday, who played a singing maid and the love interest of Louis Armstrong. You can see her first scene around the 11-minute mark.

After her arrest, a technicality made it harder for Holiday to perform

The Cabaret Identification Card was required for all performers in New York nightclubs that served liquor. After her arrest and yearlong imprisonment, the New York Police Department revoked Billie Holiday's card, making it extremely difficult for her to earn money. The video features contemporary jazz musician Christian McBride breaking down the history of cabaret cards and how the ban affected Holiday.

An American Beatles album featured a bizarre, gruesome image of the band as butchers, which was swiftly recalled.

How the government caught Billie Holiday

Louis McKay—who was Holiday's manager and abusive husband—worked with the Federal Bureau of Narcotics to ensure Holiday was caught with drugs. She was eventually put on trial and sentenced to a year in prison, where she briefly got sober.

Elvis Presley wanted to record 'I Will Always Love You,' but Dolly Parton refused

After scoring a hit with her own recording of the song, Presley made plans to record his own version, but stipulated that Parton would need to grant him 50% of the publishing rights—perhaps the most valuable asset for a songwriter. Parton politely refused.

'Over the Rainbow' became a widely covered standard

Judy Garland’s original 1939 version won the Academy Award for best original song, though it never appeared on the Billboard pop singles chart (which didn’t appear until 1940). Twenty different versions of the song by other artists—including Willie Nelson, Patti LaBelle, and Israel "Iz" Kamakawiwo'ole—have appeared on numerous Billboard charts.

A beginner's guide to the music of Billie Holiday

This primer from NPR breaks down some of the best entry points for newcomers to the jazz legend. From iconic tracks like "Strange Fruit" to deeper but essential late-era songs, the list offers a blueprint for appreciating Holiday before jumping into the deep end of her sprawling discography.

Watch Billie Holiday's screen debut in 1935's 'Symphony in Black'

The singer appeared alongside Duke Ellington in Paramount's "Symphony in Black," a musical short released by Paramount Pictures in September 1935, when Holiday was just 20 years old.

Diana Ross starred in a Motown-produced biopic about Billie Holiday

The 1972 film "Lady Sings the Blues" was loosely based on Holiday's autobiography and starred Ross, then pursuing her post-Supremes solo career. The Motown production had big names (including Billy Dee Williams and Richard Pryor) and was nominated for five Academy Awards, including one for Ross' performance. You can watch the film below.

Check out the records stocked in the jukebox at the Stonewall Inn, the bar responsible for modern Pride celebrations.

Listen to Woody Guthrie's 'Columbia River Songs,' the government-commissioned album about Washington state's Columbia River.

Billie Holiday's distinctive vocal technique was aided by new microphone technology

Unlike many of her contemporaries, Holiday's voice was more reserved and seductive. In the past, that wouldn't have been practical—earlier microphones required singers to belt in order to be heard throughout a club or theater. However, technological breakthroughs in the 1930s produced more sophisticated and sensitive microphones, enabling a singer like Holiday to experiment with vocal dynamics.

Why Frank Sinatra called Billie Holiday his 'greatest single influence'

In a 1958 essay for Ebony magazine, Sinatra wrote about the impact that Black music had on him, writing that "it is Billie Holiday, whom I first heard in 52nd Street clubs in the early 1930s, who was and still remains the greatest single musical influence on me. It has been a warm and wonderful influence, and I am very proud to acknowledge it."

Billboard's first No. 1 single was Tommy Dorsey Orchestra's 'I'll Never Smile Again'

The song was No. 1 on Billboard’s Best Selling Retail Records chart, the predecessor to the Hot 100. The chart only measured record copies sold, excluding other indicators of popularity, like sheet music sales or jukebox plays, that were used on other charts.

The earliest known country recording is Louis Vasnier's 'Thompson's Old Gray Mule'

This BBC documentary offers a brief history of the recording, explaining how the wax cylinder recording was transferred to vinyl and how the singer was identified. Interestingly, it also suggests why this recording might have been overlooked for over a century.

Watch Diana Ross posthumously induct Billie Holiday into the Rock and Roll Hall of Fame

Holiday was posthumously inducted into the Hall in 2000 for her influence on the generations that followed her. Fittingly, Diana Ross, who played Holiday in a 1972 biopic, did the honors. She took the opportunity to sing an acapella verse of "Strange Fruit" and then offer some honorific poetry: "In this, a lesson: Artist, handle with care. Don't lose yourself in the music, beware stardom's glare."

Carole King regrets writing a song excusing domestic violence

While working at the Brill Building, Carole King became one of the architects of the classic girl group sound, penning hits like the Shirelles' "Will You Love Me Tomorrow" and the Chiffons' "One Fine Day." One song she regrets writing, though, is the Crystals' "He Hit Me (And It Felt Like A Kiss)," a song she now believes normalizes domestic violence.

Ray Charles' 'Modern Sounds in Country & Western Music' albums blurred genre lines

Released in the midst of the Civil Rights Movement, Charles’ records showed that country music, by then largely segregated, was an American music, no matter one’s background.

The Beatles were not an immediate success in the US—their label rejected their first two singles, and the band was mocked on the TV show 'American Bandstand.'

The Shirelles' 'Will You Love Me Tomorrow' was the first girl group record to reach No. 1

The 1960 song, composed by husband-and-wife Brill Building occupants Gerry Goffin and Carole King, was more than a little suggestive. The main character wondered if her partner would abandon her after a night of passion, leading to some stations banning the record. But it also propelled the song to the top of the Billboard Hot 100.

Listen to Woody Guthrie's 1940 concept album about agricultural and economic destruction, 'Dust Bowl Ballads.'

The BBC banned the Beatles' song 'A Day in the Life' for 5 years, fearing it encouraged drug use.

Stan Getz initially didn't want to release 'The Girl from Impanema'

According to Stan Getz's son, Nick Getz, the legendary saxophonist thought the song was not a good fit for "Getz/Gilberto" because Astrud Gilberto's voice was too unprofessional. That low regard was reflected in the record's credits: Astrud Gilberto was allegedly paid $120 for the recording session and received no royalties for the song.

'Lift Every Voice and Sing' was written to celebrate Abraham Lincoln's birthday, but would go on to become the 'Black national anthem' and a Juneteenth tradition.

'Blowin' in the Wind' became a rallying cry for the Civil Rights Movement

The song is based on a spiritual titled "Many Thousand Gone," whose melody Dylan reworked. The result was popularized by the folk trio Peter, Paul, and Mary and from there became an anthem for the growing Civil Rights Movement, culminating in Dylan's appearance at the March on Washington.

Analyzing Billie Holiday's impact on American poetry

Although Holiday is sometimes associated with the Harlem Renaissance, the Black cultural movement of the 1920s and '30s, scholar Whit Frazier Peterson argues that her real impact in poetry was on the Black Arts Movement, the more radical Black literary movement of the '60s and '70s that featured writers like Amiri Baraka, Sonia Sanchez, and Nikki Giovanni.

'Livery Stable Blues' was the first jazz recording and helped popularize the genre

The 1917 song by the Original Dixieland Jass Band was the first jazz recording to be issued and put the New Orleans sound on the national stage, along with inspiring several soundalikes.