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Our image of Billie Holiday is that of the elegant and melancholy jazz singer known for her haunting voice and immortal classics like "Lady Sings the Blues" and "My Man." But there was another song she performed that stood out in her repertoire: "Strange Fruit," a disturbing and impressionistic elegy to lynched black men in the South. Now, for the first time, New York Times and Vanity Fair contributor David Margolick uncovers the extraordinary history of this important American composition that few singers dare to perform to this day. For Margolick, "'Strange Fruit' defies easy musical categorization and has slipped between the cracks of academic study. It's too artsy to be folk music, too explicitly political and polemical to be jazz. Surely no song in American history has ever been guaranteed to silence an audience or to generate such discomfort."
Margolick reconstructs that discomfort when he details that fateful night in 1939 when Holiday first performed "Strange Fruit" at New York's Cafe Society. He also writes about the song's composer, Abel Meeropol (who later adopted the sons of spies Julius and Ethel Rosenberg). For the author, "Strange Fruit" was a protest act on par with Rosa Parks's refusal to give up her seat on a segregated bus years later, and he notes the influence the song has had on poets, singers, and writers as diverse as Maya Angelou, Cassandra Wilson, and Natalie Merchant. What David Margolick proves in this small but important book is that art can indeed move people in ways nothing else can. --Eugene Holley Jr. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
From Publishers Weekly
In 1939, at Greenwich Village's Left-wing Caf? Society, Billie Holiday gave the first public performance of a song whose lyrics tender a gory vision of a lynched black man hanging from a tree. The song, "Strange Fruit," became one of Holiday's signature pieces, eliciting strong emotions in black and white audiences alike. Now Margolick, a contributing editor at Vanity Fair, has written a history of the song that Q, a British music publication, counted among the "ten songs that actually changed the world." Following "Strange Fruit" from its birth at the hand of Jewish schoolteacher and Communist Abel Meeropol through its occasional present-day revivals by a smattering of intrepid musicians, Margolick culls the opinions of music scholars on the influential ballad's cultural and musical impact and quotes critics from Holiday's era. He consults sources including black newspapers, radio stations, record sales and jukebox data to determine who actually heard "Strange Fruit" and how different groups reacted. Most effectively, by drawing on personal recollections of Holiday, Meeropol, Caf? Society promoter Barney Josephson and people who heard Holiday sing the song either live or on vinyl--plus a brief history of Southern lynchings--Margolick re-creates the tense web of bitterness, guilt, denial and anger that surrounded Holiday's charged performances of "Strange Fruit." With thorough research and the smooth writing of a journalist, Margolick has produced a superb piece of cultural history. Photos. Author tour. (Mar.)
Copyright 2000 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright 2000 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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5.0 von 5 Sternen
Very Powerful,
Rezension bezieht sich auf: Strange Fruit: Billie Holiday, Cafe Society, and a Cry for Civil Rights (Gebundene Ausgabe)
Billie Holiday struck a chord that hasn't really been properly addressed in song since.the Lynchings&Blood still get my full attention.in fact it still happens in some places.this Book needs more exposure.Race is Being tuned out except when their are Beat downs&other things.a Book Like this will keep your full attention.very Powerful.you can never speak enough on the subject or the Impact of Lady Day's Words.
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5.0 von 5 Sternen
An impressive charting of early efforts seeking justice.,
Von Midwest Book Review (Oregon, WI USA) - Alle meine Rezensionen ansehen
Rezension bezieht sich auf: Strange Fruit: Billie Holiday, Cafe Society, and a Cry for Civil Rights (Gebundene Ausgabe)
While Strange Fruit is a superb biography of singer Billie Holiday, its added focus on cafe society and civil rights issues charts the beginning of the movement and provides an important key to understanding the controversial ballad which became Holiday's signature tune and the start of Civil Eights efforts. In telling the story of the song's roots and popularity, this charts early efforts in the struggle for justice.
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5.0 von 5 Sternen
Bitter crop, strange beauty.,
Von Miranda Gaea (Missoula, Montana) - Alle meine Rezensionen ansehen
Rezension bezieht sich auf: Strange Fruit: Billie Holiday, Cafe Society, and a Cry for Civil Rights (Gebundene Ausgabe)
Rather than review David Margolick's succinct tour de force of reporting and writing in my words, let me share some excerpts of it in his:"White's version of "Strange Fruit" is intense, almost febrile, but it is less searing and subtle than Holiday's. "When Josh sings it, you feel you're hearing a great performance," said White's biographer, Elijah Wald. "When Billie sings it, you feel as if you're at the foot of the tree." "Decades later, the experience of listening to, and watching, Billie Holiday perform "Strange Fruit," her eyes closed and head back, the familiar gardenia over her ear, her ruby lipstick magnifying her mocha complexion, her fingers snapping lightly, her hands holding the microphone stand as if it were a tea cup -- lingered in many memories." When Billie sang it, "the apartment became a cathedral." "That was all she sang; nobody asked her to sing anything else. There was a finality about the last note. Even the pianist knew. He just got up and walked away." The reader will not just get up and walk away from this book. You will find yourself compelled to read and hear echoing every word of this strange and bitter account of a beautiful woman and a terrifying song, and how they combine with the beautiful and terrifying thing that was America and its race relations at mid-century. David Margolick spent much of his career providing colorful accounts of that grayist of American tribes, the lawyers, for the gray New York Times. In moving to the pastels of plenty at Vanity Fair, he has richer subjects, and none with greater depth than this lady and these blues and the lost world made alive again in this book. Helfen Sie anderen Kunden bei der Suche nach den hilfreichsten Rezensionen
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