![Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz singer and songwriter. Nicknamed Lady Day[1] by her loyal friend and musical partner Lester Young, Holiday was 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. Above all, she was admired for her deeply personal and intimate approach to singing. Critic John Bush wrote that she “changed the art of American pop vocals forever.”[2] She co-wrote only a few songs, but several of them have become jazz standards, notably “God Bless the Child”, “Don’t Explain”, and “Lady Sings the Blues”. She also became famous for singing jazz standards written by others, including “Easy Living” and “Strange Fruit”.](http://28.media.tumblr.com/tumblr_kwgykfgYxB1qajey3o1_500.jpg)
Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz singer and songwriter. Nicknamed Lady Day[1] by her loyal friend and musical partner Lester Young, Holiday was 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. Above all, she was admired for her deeply personal and intimate approach to singing. Critic John Bush wrote that she “changed the art of American pop vocals forever.”[2] She co-wrote only a few songs, but several of them have become jazz standards, notably “God Bless the Child”, “Don’t Explain”, and “Lady Sings the Blues”. She also became famous for singing jazz standards written by others, including “Easy Living” and “Strange Fruit”.
![An Apollo Hall was founded in the mid-1800s by former Civil War General Edward Ferrero as a dance hall and ballroom. Upon the expiration of his lease in 1872, the building was converted to a theater, which closed shortly before the turn of the century.
However, the name “Apollo Theater” lived on. In 1913[2] or 1914,[3] a new building, designed by the architect George Keister,[4]and who also patterned the First Baptist Church in the City of New York, opened at 253 West 125th Street as Hurtig and Seamon’s New (Burlesque) Theater,[2] operated by noted burlesque producers Jules Hurtig and Harry Seamon, who obtained a 30-year lease.[4] It remained in operation until 1928, when Bill Minsky took over.[citation needed] The song “I May Be Wrong (But I Think You’re Wonderful)” by Harry Sullivan and Harry Ruskin, written in 1929, became the theme song of the theater.](http://30.media.tumblr.com/tumblr_kwgyhnyqaF1qajey3o1_500.jpg)
The Harlem Renaissance
The Harlem Renaissance (the New Negro Movement) refers to the flowering of African American cultural and intellectual life during the 1920s and 1930s. At the time, it was known as the “New Negro Movement”, named after the 1925 anthology The New Negro edited by Alain Locke. Centered in the Harlem neighborhood of New York City, Many French-speaking black writers from African and Caribbean colonies who lived in Paris were also influenced by the Harlem Renaissance.[1]
Historians disagree as to when the Harlem Renaissance began and ended. It is unofficially recognized to have spanned from about 1919 until the early or mid 1930s. Many of its ideas lived on much longer. The zenith of this “flowering of Negro literature”, as James Weldon Johnson preferred to call the Harlem Renaissance, is placed between 1924 (the year that Opportunity: A Journal of Negro Life hosted a party for black writers where many white publishers were in attendance) and 1929 (the year of the stock market crash and the beginning of the Great Depression).
In 1917 Hubert Harrison, “The Father of Harlem Radicalism,” founded the Liberty League and The Voice, the first organization and the first newspaper of the “New Negro Movement”. Harrison’s organization and newspaper were political, but also emphasized the arts (his newspaper had “Poetry for the People” and book review sections). In 1927, in the Pittsburgh Courier, Harrison challenged the notion of the renaissance. He argued that the “Negro Literary Renaissance” notion overlooked “the stream of literary and artistic products which had flowed uninterruptedly from Negro writers from 1850 to the present”, and said the so-called “renaissance” was largely a white invention.
