Downloaded from YTS.MX
Official YIFY movies site: YTS.MX
[POLICE SIRENS WAIL]
[POLICE RADIOS CHATTER]
[CASSETTE REWINDS]
[BILLIE HOLIDAY SINGS]: ♪ Saddest tale on land or sea ♪
♪ Was when my man walked out on me ♪
[CASSETTE REWINDS] - LINDA: I'd like to write
something that is real, you know
that is really Lady, and, uh...
people who don't see her in any sentimental way
you know, really as she is.
[JIMMY ROWLES]: I'd like to hear what Bobby Tucker said...
What'd he say?
[LINDA]: I can't say.
[JIMMY ROWLES]: But you can give me an idea.
[LINDA]: I can't. I never talk, and nobody ever hears the tapes.
[CASSETTE WINDS]
[JO JONES]: Are you interviewing me
or am I interviewing you?
When I tell you something, you print it!
Billie's dead, you're talking to me now.
[RADIO PRESENTER]: Well, my friend today is
a gal who has been singing jazz for a good many years now.
Long enough to earn for herself the title
"The world's greatest Jazz vocalist".
Miss Billie Holiday. - [APPLAUSE]
[MUSIC: "Now or Never" by Billie Holiday]
♪ Hey there, baby, make up your mind ♪
♪ Cos I've been waiting such a long, long time ♪
♪ Now, baby, or never, I've been so sad and blue ♪
♪ Now, baby, or never ♪
♪ I've been so lonesome, too ♪
♪ Now, baby, or never ♪
♪ If I mean anything to you ♪
♪ Now, baby, or never ♪
♪ Cos I've wasted so much time ♪
♪ Now, baby, or never ♪
♪ And it ain't no fault of mine ♪
♪ It's gotta be yes or no ♪
♪ It's either you stay or go ♪
♪ You can't leave me on the shelf ♪
♪ You gotta commit yourself ♪
♪ It's either you will ♪
♪ Baby, or you won't fall in love with me ♪
[CASSETTE CLICKS]
[LINDA]: An interview with Sylvia Syms
January 20th, 1973.
[SYLVIA SYMS]: To the people in our industry
she was the great lady of all time.
She was the queen bee.
♪ I've been so sad and blue ♪
[SYLVIA]: Without even trying, she was the most sensual
of all of the lady singers.
♪ I've been so lonesome, too ♪
[SYLVIA]: I saw the whole world in that face...
all of the beauty and all of the misery.
Billie Holiday sang only truth, she knew nothing else.
♪ Now, baby, or never ♪
♪ I've been so sad and blue ♪
♪ Now, baby, or never ♪
[TONY BENNETT]: Met her in Philadelphia, once.
There was a funny situation because I was very unknown
I was just a fan, and she just kinda lifted up her skirt
and went right into her stocking and took out a bill
and said get me some gin, son.
[TONY AND LINDA LAUGH]
♪ I'm gonna call you once more on the telephone ♪
♪ I'll give you till twelve, then I'll be gone ♪
[LINDA]: In what way do you think of her
as being innovative?
[TONY BENNETT]: Well, the fact that she just told
her own story, just by being herself.
♪ Now, baby, or never ♪
[TONY BENNETT]: Must be a pretty interesting story
that you're writing.
She's had a wild life.
[BILLIE HOLIDAY]: ♪ You gotta commit yourself ♪
♪ It's either you will, baby, or you won't ♪
♪ Fall in love with me ♪
[TONY BENNETT]: I wanna know why all girl singers crack up.
[APPLAUSE]
They all crack up!
When they hit the top, something tragic happens.
I wanna know what causes that.
[BOAT HORN BLOWS]
[MUSIC: "God Bless The Child" by Billie Holiday and Tony Bennett]
[BILLIE]: ♪ Them that's got shall have ♪
♪ Them that's not shall lose ♪
♪ So the Bible said and it still is news ♪
♪ Mama may have ♪
♪ Papa may have ♪
♪ But God bless the child that's got his own ♪
♪ That's got his own ♪
[BILLIE]: The things that I sing
have to have something to do with me and my life
and my friends' lives.
They have a meaning.
♪ Empty pockets don't ever make the grade ♪
[BILLIE]:
♪ Money, you've got lots of friends ♪
♪ Crowding round... ♪
[BILLIE]:
[JOHN FAGAN]: We used to stay together
as small kids.
[LINDA]: How old were you?
[JOHN FAGAN]: Eight or nine years old.
Her and her mother were very close.
They were very close.
The area she came up in, as a kid...
everybody knew each other, you know.
It was just a nice community to live in
even though we were poor.
It was a different type of poor what they call today, you know.
If we made it and we were happy with what we had.
[SONG CONTINUES] ♪ Crowding round no more ♪
♪ Rich relations give... ♪
[JOHN FAGAN]: In the bloom of her youth, she was pretty.
[HE CHUCKLES]
♪ You can help yourself ♪
♪ But don't take... ♪
[JOHN FAGAN]: People played on her.
[LINDA]: Did they play on her when she was a kid?
[JOHN FAGAN]: Of course.
[LINDA]: Who? Who? - [JOHN]: The men folks.
♪ Papa may have ♪
♪ But God bless the child that's got his own... ♪
[LINDA]: You hung out with Billie?
[JOHN FAGAN]: That's right.
[LINDA]: You called her Eleanora.
[MARY]: That's her name, Eleanor, Eleanora Fagan.
That's the name that we knew her by.
[LINDA]: You never knew the father?
[MARY]: No, I never knew her father, no.
[LINDA]: Did she curse a lot when she was a kid?
[MARY]: Yep. - [LINDA]: What'd she say?
What were her favourite words?
[MARY]: "Motherfucker".
[LINDA]: Every other word was motherfucker. What else?
[MARY]: "Cocksuckers", that was her word.
"Motherfucker", "cocksucker"...
She would say, "You suck my ass, motherfucker".
[THEY LAUGH]
[MARY]: A lot of people didn't like you calling 'em
"motherfucker", they would beat you up.
A lot of men.
[LINDA]: Right there on the street?
[MARY]: Yeah.
[LINDA]: Think she liked it? - [MARY]: She must'a liked it.
But the fellas that liked her, she didn't dig them.
[LINDA]: Let me ask you something, John...
[JOHN FAGAN]: Go ahead.
Did Billie... did she turn tricks?
[JOHN FAGAN]: Sure, of course.
During them times, you had to survive
and she had to survive.
[LINDA]: Was she younger than most girls?
[JOHN FAGAN]: No. Girls start young, some of 'em, you know.
She wasn't like a slut.
No, no, no, no... she just lived fast.
[MUSIC: "Symphony In Black" by Duke Ellington]
♪ The saddest tale on land or sea ♪
♪ Was when my man walked out on me ♪
[LINDA]:
[SKINNY DAVENPORT]:
[LINDA]:
[SKINNY AND LINDA]:
[LINDA AND SKINNY]:
[LINDA]:
[SKINNY DAVENPORT]
[LINDA]: Yeah? - [SKINNY LAUGHS]
[LINDA]:
[SKINNY DAVENPORT]:
[HE LAUGHS] - [LINDA]: Why?
[SKINNY DAVENPORT]:
♪ My man's gone, I feel forlorn ♪
♪ I've got those "lost my man" blues ♪
♪ He didn't treat me fair ♪
♪ It's more than I can bear ♪
♪ I've got those... ♪ - [LINDA]: Did you ever hear
her sing? - [SKINNY]: Yeah.
[LINDA]: When she was a kid? - Yeah, yeah.
She used to sing every night.
♪ I've got those "lost my man... ♪
♪ ...can't get him back again" blues ♪
[BILLIE]:
[INTERVIEWER]: Well, now wait a minute, it's quite a jump
from Baltimore to New York... - [BILLIE]: Listen...
Well, it was a jump.
[INTERVIEWER]: So, you were 15 years old then, weren't ya?
[BILLIE]: No, I was 14.
[INTERVIEWER]: I beg your pardon.
[TRAIN CARRIAGES RATTLE]
[LINDA, VO]: My first encounter with Billie Holiday
was as a listener...
not as a biographer or critic.
Age 14, I happened to spot an album...
"The Essential Billie Holiday"
and curiously listened to the voice.
A strange voice...
that was more real and true...
than anything I'd ever heard before.
It told of experiences so deeply felt...
wailed huskily from some netherworld...
that I had no choice...
I had to listen to where that voice was coming from.
[MYRA LUFTMAN]: Linda was my big sister
and she was my protector, and, uh...
she was my best friend.
We grew up in the Bronx Borough of New York.
My father was a labour union organiser.
Our family was Jewish but non-religious.
Linda was a public high school teacher
but she had been doing interviews on women
and women's rights
as a journalist for Paris Review
for the New York Times Sunday magazine section.
That's when she decided to start writing a biography
on Billie Holiday.
Even though they came from totally
different backgrounds...
I think she identified with Billie.
I think she felt the pain of someone's struggles.
She did not like seeing her as a victim
which I think is the way she had been portrayed.
[BIG BAND MUSIC PLAYS]
[DETROIT RED]:
[LINDA]:
[DETROIT RED]
[LINDA]:
[DETROIT RED]:
[LINDA]:
[DETROIT RED]:
Hello Pigmeat, how are you?
Why hello, Mabel.
It's good to see you.
Yeah, where in the world is you been?
[PIGMEAT MARKHAM]: Someone told me about this girl
who could sing so beautiful.
And I went by to see her and hear her.
That's when I discovered her...
a week or two after she started coming the Apollo Theatre.
And that's where she made her stage appearance
first time in her life.
[LINDA]: Why'd you think she was so nervous?
[PIGMEAT]: Well, she was stage-frightened
she'd never been on a stage before.
And a lot of people can sing in them little small places
with eight, ten, 15, 45 people...
and then when you put 'em in front of a big audience...
a thousand, two thousand people, they just freeze up.
[LINDA LAUGHS] It must've been something!
[INTERVIEWER]: Tell us something, Billie
about the background that, uh...
brought about your interest in jazz.
[BILLIE]:
♪ My man... ♪
[INTERVIEWER]: And that was it?
[BILLIE]:
[JOHN HAMMOND]: Well, I was the first white guy
who ever heard Billie, you know.
I was the first one who introduced her around.
About the eighth stoop up here
is where I first heard Billie Holiday.
It says laundry there, see? And that's the place
where Billie Holiday made her debut
as far as I know in New York
in about February of 1933.
What did you hear that said to you
"I have to let the rest of the world know about this?"
I heard a singer who was an improvising horn player.
Horn player? - Yeah, well, that's how...
that's how she sounded.
Any specific horn player?
Well, I think she liked Louis...
Louis Armstrong. - Louis Armstrong, I'm sorry.
I need to add that last-- That's quite alright.
And I knew, you know, that these two would...
would find, uh...
would make music together that was unprecedented.
And it was.
[MUSIC: "The Blues Are Brewin'" by B. Holiday and L. Armstrong]
♪ When the moon's kinda dreamy ♪
♪ Starry-eyed and dreamy ♪
♪ And nights are luscious and long ♪
♪ If you're kinda lonely ♪
♪ And all by your own-ly ♪
♪ Then nothin' but the blues are brewin' ♪
♪ The blues are brewin' ♪
♪ When the wind through the window... ♪
[JOHN HAMMOND]:
♪ If love goes a-thirstin' ♪
♪ Till you feel like burstin' ♪
♪ Then nothin' but the blues are brewin' ♪
♪ The blues are brewin' ♪
[JOHN HAMMOND]: I persuaded the American Record Company
that they should record the hits of the day
with the wonderful girl singer, and hit the jukebox trade.
I says "It costs so little".
We would do these records, you see
for less than $300 a session.
♪ Suppose you want somebody ♪
♪ But you ain't got nobody ♪
♪ You only got a gleam in your eye ♪
[JOHN HAMMOND]:
[LINDA]:
[JOHN HAMMOND]:
If you went to Harlem just for music and no sex
it was the strangest thing in the world.
And I went just for music.
[CASSETTE CLICKS]
[RUBY DAVIES]: First time I met Billie was...
in a place behind the Apollo Theatre
and she asked me to take her home
because some of her friends that were there
she says, "I don't want them to take me home".
The apartment was in Harlem, that was considered a ghetto.
When we got there, she asked me to stay with us.
I ended up staying, oh, about six months.
Her mother used to tell me about her
when she was a little girl.
[LINDA]: What would she tell you?
[RUBY]: That she was still in love with Billie's father.
And a lot of times when she used to talk about it, she'd cry.
[LINDA]: Somebody told me that Billie used to go with girls.
Now, is there any truth in that?
[RUBY DAVIES]: Oh, of course!
Her nickname among the men...
they called her Mister Billie Holiday
because she was seldom seen with fellas.
And I will always believe
that her mother was the cause of it
cos she never wanted Billie to get close with any fellas.
She would tell her they're no good.
"I heard this about him" and "I heard that about him"...
Her mother pushed that in her mind to be careful
cos they'll break your heart.
Just like Billie's father.
[LINDA]:
[SANDY WILLIAMS]:
[LINDA]:
[SANDY]:
[LINDA AND SANDY]:
[LINDA]:
[SANDY]:
[LINDA]:
[SANDY]:
[IRENE KITCHINGS]:
[LINDA]: What was he like?
[IRENE]:
[LINDA AND IRENE]:
[STEAM HISSES]
[LINDA, VO]: Whether the men who Billie went with
treated her well or not...
she always chose them for a reason.
They played for her, they protected her...
and in the man's world of the night club...
they allowed her to do the one thing that mattered...
which was to sing.
Music didn't bring Billie to Harlem...
but it was her voice that would allow her to escape.
Attention everybody!
♪ Now, here's a boogie-woogie, solid beat ♪
♪ Come on you dancers, on your feet ♪
♪ The winners get a prize as you all know ♪
♪ And we pick 'em by the speed and the class they show ♪
♪ Let's go! ♪
[INTERVIEWER]: Billie, I'm just wondering
if you might tell us how people began to call you "Lady Day".
[BILLIE]:
[HARRY "SWEETS" EDISON]:
[LINDA]:
[HARRY "SWEETS" EDISON]:
[LINDA]:
[HARRY "SWEETS" EDISON]:
[LINDA]:
[HARRY "SWEETS" EDISON]:
[LINDA]:
[HARRY "SWEETS" EDISON]:
[LINDA AND HARRY]:
[COUNT BASIE]: What would be a good question
for you to ask me...
[LINDA]: You? - [COUNT BASIE]: About Billie?
[LINDA]: You said that you used to alternate
riff-raff joints, and then you'd play some big white hotel.
Go from one extreme to the other. Is that true?
[COUNT BASIE]: Well, I don't call no place a riff-raff
that pays me.
[LINDA]: She said you weren't your own boss...
that you had too many managers.
[COUNT BASIE CHUCKLES] - [LINDA]: It's true?
[COUNT BASIE]:
[LINDA]:
[COUNT BASIE]:
[LINDA]:
[COUNT BASIE]:
[LINDA]: Both.
I can't write about Billie Holiday with your band
if I'm not gonna talk about your band.
[THEY LAUGH] - [LINDA]: Am I?
Can I?
[CASSETTE CLICKS]
[JO JONES]: My name is Jonathan David Samuel Jones
professional name Jo, J.O.
And everybody professes to know her...
they knew nothing about her.
All that they knew was what was in it for them.
[LINDA]: What happened with her and Count Basie?
I mean, why did that--
[JO JONES]: Count Basie?
Can't you leave Count Basie alone?
That's no problem. That was no problem.
[LINDA]: Well, why did she leave the band?
[JO JONES]: She didn't leave the band, she was fired!
[LINDA]: Who fired her?
[JO JONES]: John Hammond!
[LINDA]: John Hammond fired her? Why?
[JO JONES]: That's a big question, if you can answer that
they wouldn't have the UN.
[LINDA]: About Basie, um, why did Billie leave the band?
[JOHN HAMMOND]: Well, you see, here's the thing...
there was a real problem with Billie and Basie.
She weren't making enough money, simple as that
and this is really one of the principal reasons
why she left the band.
[LINDA]: How much was she getting paid then?
[JOHN HAMMOND]: I think 100 and a quarter a week
something like that, at the most!
[LINDA]: She quit?
[JOHN HAMMOND]: Oh sure, sure.
[JO JONES]: John Hammond wanted her to sing the blues.
So, since she wouldn't sing the blues, he fired her.
[LINDA]: How can I verify it?
[JO JONES] His number's 0803 4173.
Call him up and I'll tell him
and I'll give him another heart attack.
Call him.
[LINDA]: I'm... I'm not... - Call him!
I'm not gonna call him now. - [JO JONES]: Call him!
[LINDA]: Listen, I'm gonna call him, I'm gonna to ask him.
No, call him! - You know I'm not gonna
get through to him.
[CASSETTE CLUNKS]
[LINDA]: I guess you've heard by now
that Jo Jones said that you fired her.
[JOHN HAMMOND]: Oh, absolute lie.
Absolute lie.
[LINDA]: ...because she wouldn't sing the blues.
[JOHN HAMMOND]: How can Jo say a thing like that?
Did you talk to Jo? - [LINDA]: Yeah.
Jo said I...? Oh, Jo's out of his mind.
[JO JONES]: He's a garbage-mouth liar!
[LINDA]: Why didn't... would...
[JO JONES]: He fired her because he wanted her to sing the blues!
He wanted her to be a coloured mammy!
Didn't I tell you
not to let me catch you at that piano again?
I'm sorry, Mam. If I'd have heard you coming
I wouldn't have let you catch me.
Well, let me fix you a good hot tub.
[JO JONES]: I'm telling you this in front.
He wanted her to just be yassa boss, yassa boss.
And everybody talk about how he's the great white father.
Don't give me that shit.
But nobody got guts enough to tell the people that
because they're afraid of him.
[JOHN HAMMOND]: The problem with Jo is, you know, that...
Jo is not always the most reliable, uh...
I just saw Jo last week. I'll have to ask him
how he could possibly have given you such a personal...
[LINDA]: Sure, do indeed.
[JO JONES]: It happened. That was a long time ago.
How in the hell can I tell you
what happened 40 years ago? - [LINDA]: How can I prove it?
[JO JONES]: You don't have to prove it, it happened!
[LINDA]: I believe you! - [JO JONES]: No, it happened!
[LINDA]: OK!
But when I put something in print...
[JO JONES] I don't give a damn. Put it in print and quote me.
It happened.
So don't you ask if you're interviewing me
and when I tell you something, you print it!
Are you interviewing me or am I interviewing you?
Where were you 30 years ago?
[LINDA]:
[MYRA LUFTMAN]: Linda was very conscious
of being a white writer and writing about Billie.
[JO JONES]: You don't know what we was going through.
[LINDA]: What were you going through?
[JO JONES]: We was going through hell.
Miss Billie Holiday didn't have the privilege of using
a toilet in a filling station.
The boys at least could go out in the woods.
You don't know anything about it
because you've never had to subjugate yourself to it.
Never!
[MYRA LUFTMAN]: Most neighbourhoods
where we were, were segregated by race.
But we were very much aware of what was happening
in the world, racially.
Violations of people's civil rights.
The horrors of dogs attacking black people in the South.
The African-American struggle resonated with Linda.
And it was always an outrage to Linda
that people walked in the front door
who were coming to see her
but Billie Holiday had to walk through the kitchen to perform.
[BIG BAND PLAYS]
[INTERVIEWER]: This is no secret, of course
that wherever musicians gather and talk about singers
they generally elect you as their favourite.
Now, who is your favourite?
[BILLIE]:
[MUSIC: "Prisoner Of Love" by Billy Eckstine]
♪ Alone, from night to night, you'll find me ♪
[LINDA]: Jo Jones told me that, uh...
Hammond fired Billie from the Basie Band
because she wouldn't sing the blues.
Is that the truth?
[BILLY ECKSTINE]: It's probably... sure.
[LINDA]: Could be? She never told you?
[BILLY ECKSTINE]: No, she never told me, but...
I wanna be known as a singer who can sing the ballad
who can sing up-tempo things.
Don't tell me I'm only a blues singer
that that's I all I can do is the blues.
[LINDA]: And that's what-- - That's what they did!
[LINDA]: Did you two ever talk about this?
[BILLY ECKSTINE]: We would've had to.
See, now, you've got the misconception
that black is the blues.
[BILLY ECKSTINE]: Sure.
[LINDA]: It seems as if the people who were running
the recordings were white...
I mean the powers, the agents...
let's say 7/8ths of the musicians were black.
[BILLY ECKSTINE]: You see what people do to suppress you...
the frustration of what connected with black performers.
The difference in being, quote, a "black star"
in relationship to it being a star.
Billie Holiday, she's a black singer.
Billy Eckstine, "Oh, you mean the black singer".
And not Peggy Lee, she's a "Slav singer"
or Barbara Streisand, she's a "Jewish singer".
Not that, you don't get that.
Get a load of the critics for God's sake
the people who judge our music as being good or bad...
there isn't a black critic.
There was never a black critic in swing music.
[LINDA]: Why?
Why? Because of the power structure is such
that you never got a chance.
You have all white critics to decide
whether or not you were good or bad.
It's a pleasure, always, to welcome Mr Billy Eckstine.
[APPLAUSE]
Do black people get bugged...
I think this is one of the most ironic things
that a man named Paul Whiteman...
was known as the "King of Jazz".
[BILLY CHUCKLES] - Paul Whiteman was a white man.
And, err, jazz is supposed to be--
Benny Goodman was the "King of Swing".
[THEY LAUGH] - [STUDIO AUDIENCE LAUGHS]
[SWING MUSIC PLAYS]
[BILLY ECKSTINE]: We used to laugh at the fact
that Benny Goodman was, uh, King of Swing.
Paul Whiteman, King of Jazz, you know, these things
they're absolutely comedic!
[APPLAUSE]
Look at Tom Jones.
Tom Jones openly declares that he got his style
from Otis Redding, from Jackie Wilson
from Chuck Berry
and that he started learning how to sing ballads
by listening to my records.
Now, all four of us that they named
where's ours? Where's our compensation?
Where's your payday?
[AUDIENCE CHEERS]
[INTERVIEWER]: The most remarkable things
about jazz performers...
you're way ahead of so many of the rest of us
when it comes to de-segregation.
Why is it that the colour thing has not ever really been
that important with musicians?
[BILLIE]:
[CLARINET PLAYS]
[INTERVIEWER]: Who was it that brought about the job
you did with Artie Shaw in the old days, you remember?
[BILLIE]: Well, Artie Shaw.
He asked me, did I want a job?
So, I says, "Yeah, I want a job".
[INTERVIEWER]: And there was still a policy
of no coloured singers being with a white organisation.
Would you tell that story to us now?
[BILLIE]:
[CASSETTE CLICKS]
[ARTIE SHAW]: I first met Billie back in around 1930.
Billie was just a young kid then and I was almost as hungry
in those days as she was.
I remember saying to her one day, "Billie...
if I ever make the grade
and get a band of my own, you're gonna sing with it".
And sure enough, that's what happened.
[LINDA]: Do you remember when Billie first came to sing?
[SID WEISS]: To the best of my knowledge
it would've had to have been in either '36 or '37.
We were a travelling group of minstrels.
We got a bus and travelled 300 miles.
And the way we carried it out was part of the life.
[LINDA]: Did Billie have any trouble
as a black singer with a white band?
Yes, the normal kind of problems
that would exist for any black person in those days.
[MAE WEISS]: She was remarkable in that she was a trailblazer
without really, you know-- - [LINDA]: Being conscious?
[MAE WIESS]: Yeah, she wouldn't make a thing or anything.
Today, it's hard to even describe the climate, you know
like waitresses refusing to server her.
After we would eat, she always ordered an extra hamburger
and she'd put that in her purse...
because she never knew
when she would not be able to be served.
[AL AVOLA]: The incidents concerning Billie
were mostly concerning finding a place to stay
wherever we went. - [LINDA]: Mm-hm.
The usual racial problem.
[LINDA]:
[AL AVOLA]: We'd get in in the early morning hours
you see, and many times she either slept in the car...
the bus, or... wherever.
[LINDA]: And where would you go?
[AL AVOLA]: To a hotel.
[LINDA]: How did she take it?
[AL AVOLA]:
[LINDA]: Do you remember an incident
by any chance, when you first hit Kentucky
and, uh, the sheriff, he came up to the band stand
and said, "What's that black bitch going to sing?"
And there was a brawl or something?
[LES ROBINSON]:
[LINDA]:
[LES ROBINSON]: Well, he didn't fire her, she left on her own.
She had a lot of pride.
[LINDA]: How'd she take it?
[AL AVOLA]: Uh... philosophically, I guess...
in her vulgar language method. [HE CHUCKLES]
If she had other words at her disposal
she would've used them.
The only words she could speak were those in the song.
This beautiful soul she had that she could only do
by expressing herself singing.
[BILLIE]: And now a little tune written especially for me...
"Strange Fruit".
[MUSIC: "Strange Fruit" by Lewis Allen]
[PIANO PLAYS]
♪ Southern trees ♪
♪ Bear a strange fruit ♪
♪ Blood on the leaves ♪
♪ And blood at the root ♪
♪ Black bodies swingin' ♪
♪ In the southern breeze ♪
♪ Strange fruit hangin' ♪
♪ From the poplar trees ♪
[MILT GABLER]: Around '39, she actually was a Columbia artist
and they gave me permission to record "Strange Fruit"...
which they didn't want to record.
[LINDA]: Why not?
[MILT GABLER]: Because of the social content
of it, I guess.
And how unusual it was to do a protest song.
That was the thing that made all the publicity and noise.
♪ Pastoral scene ♪
♪ Of the gallant South ♪
♪ The bulging eyes ♪
♪ And the twisted mouth ♪
[BARNEY KESSELL]: It was actually a shocking
piece of material.
She would come close to breaking up
when she was singing "Strange Fruit".
[LINDA]: You can hear the crack in the voice, huh?
[BARNEY KESSELL]: Yeah, yeah, also in the eyes.
And almost a reflection of what she had had to do
in her lifetime in order to make it.
The fact that negroes did not have equal chances...
this was something that she felt very deeply...
and about the only way she could really
crusade or bring these thoughts together
would be to sing songs like that.
♪ Scent of magnolia ♪
♪ Sweet and fresh ♪
♪ Then the sudden smell ♪
♪ Of burning flesh ♪
♪ Here is a fruit ♪
♪ For the crows to pluck ♪
♪ For the rain to gather ♪
♪ For the wind to suck ♪
♪ For the sun to rot ♪
♪ For the tree... ♪
♪ ...to drop ♪
♪ Here is a strange... ♪
♪ ...and bitter... ♪
♪ ...crop ♪
[LINDA]: Do you remember the first time she sang
that song at Café Society?
Sure, it's unforgettable.
Every time she sang, it was unforgettable.
[BILLIE'S VOICE ECHOES]: ♪ Scent of magnolia... ♪
♪ Sweet and fresh ♪
[BARNEY JOSEPHSON]: Soon after the Time Magazine appeared
and the caption read...
"Most unusual song ever to be heard in a night club".
[BILLIE'S VOICE ECHOES]: ♪ Of burning flesh ♪
[BARNEY JOSEPHSON]: When she sang "Strange Fruit"
she never moved.
Billie stood there...
all service stopped at the bar, everywhere.
[LINDA]: Can you remember any time where anybody
might have caused any commotion? - [BARNEY]: Oh, yes.
I had people walk out.
[LINDA]: These are white people? - [BARNEY]: White people.
One party after another...
"We come to your nightclub to be entertained...
and we don't call this entertainment".
[CHARLES MINGUS]: "Strange Fruit"...
What is that, man?
The Treasury Department intends to pursue a relentless warfare
against the despicable dope peddling vulture
and public enemies.
And we hope to place the drug addicts arrested
under institutional care.
[GATES SLAM]
[LINDA, VO]: It was Billie's interpretation
of "Strange Fruit"
not the song itself that changed the direction
of American music.
But not everyone stood to applaud her primal howl
against the bloody history of white America.
And her refusal to stop singing it...
would give vindication to those powerful men
already circling the decadent world of jazz
in search of a high-profile target
to burnish their reputation.
And now that Billie's star shone so brightly...
she could not easily retreat back into the night.
[MUSIC: "Fine and Mellow" by Billie Holiday]
[JIMMY ROWLES]: I ought to get myself ready for this.
You know, I'd better have a couple of drinks
cos if gonna talk about her, I wanna feel good.
She's something else, she was really something.
[LINDA]: When did you first meet her?
[JIMMY ROWLES]: I met her in 1942.
I was just a kid, I was only, like, 20 years old.
She used to call me in there, and...
"You gotta write out the chords to this tune".
[LINDA]: Where was this, in her dressing room?
[JIMMY]: Yeah!
And she'd stand there with nothing
but a pair of shoes on.
That was it!
No clothes.
♪ My man don't love me ♪
♪ He treats me oh so mean ♪
♪ My man, he don't love me ♪
♪ He treats me awful mean ♪
♪ He's the lowest man ♪
♪ That I've ever seen ♪
[JIMMY ROWLES]: Her boy was Lester Young...
cos she was always happy
when she knew Pres was playing for her.
[SAX PLAYS]
The way he played behind her...
she was just like she was in her mother's arms.
[BILLIE]: I liked Lester's feeling, you know.
When he first started
everyone felt his tone is too thin
but I told him it doesn't matter because, you watch
after a while, everybody's gonna to be copying you.
♪ He wears high-draped pants ♪
♪ Stripes are really yellow ♪
[JIMMY ROWLES]: They had the funniest way
of loving each other.
It was brother and sister, but it was another thing.
♪ ...fine and mellow ♪
Anybody that ever knew him would tell you
he's one of the strangest people on earth.
He was like a visitor, really.
And she was too, so you can figure the two of 'em together
is pretty wild.
That was the way it was, all the time.
But everybody loves a wild woman.
[JIMMY AND LINDA LAUGH]
♪ But you're so mean to me, baby ♪
♪ I know you gonna drive me away ♪
[JIMMY]: She sang from her crotch.
You bet she had the greatest crotch in life!
[LINDA LAUGHS]
[JIMMY]: And, now that I look back, I'm sorry I missed it.
[HE LAUGHS]
[LINDA]: How do you envision her sex life?
[JIMMY]: It had an awful lot to do with the way she was
with everything she did.
So, you look at Lady Day, you've gotta include
her sex life, or you don't look at her.
♪ Sometimes when you think it's on, baby ♪
♪ It has turned off and gone ♪
[PLANE RUMBLES]
[JOHN SIMMONS]:
[HE LAUGHS]
[INTERVIEWER]: I know a couple of good friends of yours
who are not musicians.
Orson Well... Tallulah Bankhead.
[BILLIE]:
[LINDA]:
[DETROIT RED]:
[ROY HARTE]:
[SYLVIA SYMS]: The bar used to be packed
with hero-worshippers.
She looked like a panther...
is the only way I can describe her
with the most unbelievable face in the world.
She really dug being high
that's one thing I've got to say.
But I never knew anyone with such a capacity.
[JAMES "STUMP" CROSS]: All the doormen
along 52nd Street
had what Lady needed.
[LINDA]: Like what?
[JAMES "STUMP" CROSS]: Like pot.
[LIGHTER CLICKS]
[JOHN SIMMONS]:
[LINDA]: Why?
Why all those extremes?
Why?
[BOBBY TUCKER]:
[LINDA]: And why shouldn't she?
[CASSETTE CLICKS]
[JIMMY FLETCHER]:
[CAMERA CLICKS]
[LINDA]:
[JIMMY FLETCHER]:
[KEYS JINGLE]
[LINDA]:
[JIMMY FLETCHER]:
[LINDA]:
[JIMMY FLETCHER]:
[CAMERA CLICKS]
[LINDA]: And would you say Billie was extremely smart
in protecting herself?
[JIMMY FLETCHER]:
[LINDA AND JIMMY]:
[JIMMY]:
[LINDA AND JIMMY]:
[LINDA]:
[JIMMY FLETCHER]:
[GUNFIRE ECHOES]
[LINDA]: And she was in the hotel?
[JIMMY FLETCHER]:
[INDISTINCT POLICE RADIO CHATTER]
[DISTANT SIREN BLARES]
[LINDA]:
[JIMMY FLETCHER]:
[LINDA AND JIMMY]:
[DOG BARKS]
[VIRGINIA MCGLOCKEN]: Here at Alderson...
the system was that when a person came in
who was on drugs at the time
that they were sent to the hospital
and remained there until they were drug free.
[ALARM BELL RINGS] - [DOG BARKS]
This prison was segregated as to race.
[SEWING MACHINES WHIR]
She really went into the woodwork here.
She had made up her mind that she was just going
to do her time and get out as fast as she could.
[JEAN ALLEN]: This was the room she occupied.
She certainly was no trouble ever.
She was a...
generous person, I'd say, uh...
in thought, anyway.
She never bothered anybody.
[VIRGINIA MCGLOCKEN]: It's almost impossible
to say how quiet she was.
To my knowledge, she never sang a note.
[WIND CHIMES JINGLE]
[MYRA LUFTMAN]: It took Linda a long time to work on the book.
Eight years of her life.
She had some bad times, and, uh, we would get calls
in the middle of the night.
[CARMEN MCRAE]: I just don't feel like doing it.
All this shoulda been done about this woman before she died
not after she's dead, and everybody's...
just going through all kinds of shit about it now
cos I've had it up to here with that shit.
[MYRA LUFTMAN]: As the time went on, she kept pushing
her own set deadline further and further.
At one point, I remember we had a discussion
and I said, "You know, maybe it's just time
to finish it, and to leave it imperfect".
But she couldn't, it was so much part of her.
The reason that Linda struggled so much
was that inside her own head
she heard the voice that she wanted Billie to have...
but she couldn't get that correct voice on paper.
[MUSIC: "Just One More Chance" by Billy Holiday]
♪ Just one more chance ♪
♪ I've learned the meaning... ♪
[INTERVIEWER]: Haven't you gotta find a piano man
of your own that you bring in there?
[BILLIE]: Yes, he goes everywhere with me.
His name is Bobby Tucker.
Bobby's been with me four years, and he's a very great musician.
[BOBBY TUCKER]: After she came out of jail
she was so glad to get back
and she was so amazed that people hadn't forgotten her.
♪ Still I'm hoping... ♪
[BOBBY TUCKER]: We did Carnegie Concert Hall.
I remember opening night.
There was a line around the block
and the people were standing out there in really waiting
to see what a women prisoner looked like.
[INTERVIEWER]: What happened in Carnegie Hall?
Were you frightened?
[BILLIE]: Oh, I was scared to death.
I waited until the last minute
and I said I wasn't going to go on.
There's too many people. [SHE CHUCKLES]
And I couldn't control my knees!
Boy, you could see my knees is going
and people didn't know if I was going to dance or sing.
[THEY CHUCKLE]
[BILLIE'S SONG CONTINUES] ♪ Still I'm hoping... ♪
[BOBBY TUCKER]: She would walk out
and before she opens her mouth
she had everybody in the place.
♪ ...somewhere... ♪
♪ I said that I... ♪
[BOBBY TUCKER]: She didn't really think that she was
a very good singer.
She could tell a story.
[LINDA]: She had no confidence in her voice?
[BOBBY TUCKER]: No. - [LINDA]: None at all?
[BILLIE]: Actresses, artists, I look at them
like "woah".
[INTERVIEWER]: And you don't consider yourself
in the same league?
[BILLIE]: No, my God, no!
[INTERVIEWER]: Why not?
You've thought as much about it.
You have developed a style, a technique, just as much
as they have done, you please just as many people
so, why are you not just as much an artiste
as any one of them?
[BILLIE]:
[INTERVIEWER]: Oh, I think you do.
I think you do know that.
[LINDA]: What was the difference between what Ella did
and Billie?
[BOBBY TUCKER]:
[SYLVIA SYMS]: She taught me that if you almost
laugh out loud
but never quite make it, the audience will laugh.
If you almost cry, but never quite make it
the audience will cry.
[LINDA]: When would she cry?
[SYLVIA SYMS]: She'd cry about a lot of things
but never when she thought anybody was watching her.
♪ ...to cry my heart out ♪
♪ For just... ♪
[JAMES "STUMP" CROSS]: Nobody could sing like Lady.
Not ever.
We worked the Club Ebony together.
That's when John Levy came into the spotlight.
["JUST ONE MORE CHANCE" SONG ENDS]
[LINDA, VO]: John became manager
sometimes called "husband-manager"...
though he never married her
because he was already married and had a son.
But Billie did not care about
such legal considerations, anyway.
She did not relate to legal codes.
She did what she wanted to do with a vengeance.
[MUSIC: "My Man" by Jacques-Charles and Pollock]
♪ It costs me lot ♪
♪ But there's one thing ♪
♪ That I've got ♪
♪ It's my man ♪
[MARIA BRYANT]: John Levy, right!
The bastard!
The dirty, rotten, stinking bastard!
[LINDA]: There is nothing good you could say about that man?
[MARIA]: Not one thing, sweetheart.
I try to say something good about, you know...
[LINDA]: There's no reason to say anything good...
[MARIA]: No reason to say anything good about him.
♪ All of this I'll soon forget ♪
♪ With my man ♪
[JAMES "STUMP" CROSS]: John Levy is a pimp.
A parasite.
I wouldn't wanna brush up with him if I had overalls on.
[MUSIC CONTINUES]: ♪ He's no hero ♪
[JAMES "STUMP" CROSS]: See, these kind of guys
with the Cadillac, or whatever...
they represented something to Lady.
[LINDA]: They represented what she came up for.
[JAMES]: Yeah.
♪ Yes, I love him ♪
♪ Two or three girls has he ♪
♪ That he likes as well as me ♪
♪ But I love him ♪
[BOBBY TUCKER]: I usually spit after John Levy.
If she'd ask him for 50 dollars, he'd knock her down!
[LINDA]: How'd he knock her down?
[BOBBY]: With his fist!
[LINDA]: His fist in her face?
[BOBBY TUCKER]: You darned right!
In the stomach, anywhere.
♪ He beats me too ♪
♪ What can I do ♪
[MARIA BRYANT]: If she was hooked, she was hooked.
And I mean on...
men, chick, dope... whatever it was.
She was hooked.
♪ But I don't care ♪
♪ When he takes me in his arms ♪
♪ The world is bright alright ♪
[JIMMY ROWLES]: She's up there singing "My Man".
See, a masochist is what she was.
All she wanted was a guy who'd tell her he loved her...
you know, but not all the time
because she digs punishment.
So, when he does say it
it's gotta mean something real wild
you know, like in the middle of something crazy.
♪ I'm his... ♪
♪ ...forever... ♪
♪ ...more ♪
[APPLAUSE]
[MELBA LISTON]:
[LINDA]:
[JIMMY FLETCHER]:
[LINDA]:
[JIMMY FLETCHER]:
[LINDA AND JIMMY]:
[COLONEL GEORGE H. WHITE]:
[LINDA]: Why not?
[COL WHITE]:
[LINDA]:
[JIMMY FLETCHER]:
[LINDA]:
[JIMMY FLETCHER]:
[DR JAMES HAMILTON]: Billie was indicted.
As soon as she was arrested
I immediately put her in Twin Pines
kept her under full psychiatric controls
for five days and proved
that she was not addicted to an opiate.
[LINDA]: Now, you made observations.
You have to, especially if you're a psychiatrist.
But what's made her the way she is?
What drove her to a series of John Levys, to heroin?
[DR JAMES HAMILTON]: I don't like to use this word
and it's not a good word, but...
she's really a psychopath.
[LINDA]: A psychopath?
[DR JAMES HAMILTON]: An impulse-driven...
strong, talented...
but not dependable individual...
who does this because this is what she has the impulse to do
right now, and she gets into all sorts of trouble.
[LINDA]: A psychopath.
[DR JAMES HAMILTON]: Key to this thing
is the impulse.
[LINDA]: Was there any perversity in this?
When I said "perversity", I meant a demon.
You know, there's a demon sometimes eating away at...
It kinda forces you to...
do something that's going to illicit some kind of shock.
And this is something I can identify with.
[CASSETTE STOPS]
[MYRA LUFTMAN]: As Linda went on
the identification became much more intense.
Like Billie, she was attracted to men who were not bringing out
necessarily the best in her.
She was married twice, and she was divorced twice.
While she was writing the book...
Linda became close with some of the people she interviewed.
One time we were in our apartment
the phone rang, and a man's voice said
"Can I speak to Linda?"
Of course I asked, "Who's calling?"
and he said, "Well, it's Bill".
Linda said, "Do you know who Bill is?"
I said, "No".
And she says, "Well, you do
it's Count Basie".
[APPLAUSE]
[LINDA]: Ask me a question about Billie.
[COUNT BASIE AND LINDA]:
[THEY CHUCKLE]
[COUNT BASIE]:
[LINDA]:
[COUNT BASIE]:
[LINDA]:
[COUNT BASIE]:
[MYRA LUFTMAN]: I'm not sure what Linda's relationship
with Basie actually was.
It's an impression that there was a closeness
based on what she had said to me.
[INTERVIEWER 1]: I understand that one of the reasons
for your present happiness is your husband Louis.
How does he react to some of your more suggestive things?
Ah, no, he tells me how to sing and what to sing
and, oh, it's just getting terrible.
[SHE LAUGHS]
[INTERVIEWER]: Well, your husband's right here
in the dressing room with us. Mr Louis McKay.
[INTERVIEWER 2]: Mr McKay, tell us something
about how you two work together.
[LOUIS MACKAY]: Well, we have something like
a private agreement.
I handle all the business, she handles all the music.
Though she tells me sometimes
"You stay outta my music".
[INTERVIEWER 2]: And does she stay out of the business?
Yes, she does. - Then you'll get along fine.
[INTERVIEWER 1]: What else are you doing besides the records
and touring around the spots?
[BILLIE]: Well, 12th October, my dream is
supposed to come true. I'm going to Europe.
[INTERVIEWER 1]: Oh, you've never been there?
No. - Oh! Well...
[BILLIE]: I've always wanted to go.
[INTERVIEWER 3]: Is this a vacation trip to Europe, or?
[BILLIE]: No, honey, no vacations, all work.
♪ Are the stars out tonight? ♪
♪ I don't know if it's cloudy or bright ♪
♪ For I only have eyes for you, dear ♪
♪ The moon may be high ♪
♪ Millions of people go by ♪
♪ But I only have eyes for you ♪
♪ I don't know if we're in a garden ♪
♪ Or on a crowded avenue ♪
♪ You are here, so am I ♪
♪ Millions of people go by ♪
♪ But they all disappear from view ♪
♪ And I only have eyes for you ♪
[INTERVIEWER]: What is it that you're after
out of life yourself, Billie, now?
[BILLIE]:
[DOROTHY WINSTON]: She'd always wanted children...
never able to have any.
I just had two girls then.
She used to love to paint them fingernails.
And she would sing to 'em
and she would take them shopping.
♪ You are here, so am I ♪
♪ Millions of people go by ♪
♪ But they all disappear from view ♪
[DOROTHY WINSTON]: It was her dream to retire someday
with enough money to buy a big spread
and have a home for children who had no mother and father.
♪ And I only have eyes ♪
♪ Big bulging eyes ♪
♪ Great big eyes ♪
♪ For you ♪
[DOROTHY WINSTON]: But he was just using her
to get control of her money.
[APPLAUSE]
[PLANE ENGINE ROARS]
[MEMRY MIDGETT]: I was with her during the return to New York.
This was a tremendously big concert.
I'm sure you've been told all the people that were on it.
Duke Ellington's orchestra, Sarah Vaughan, Bird, Prez...
Count Basie.
But it seemed like everybody there
had come to see one person.
[INTERVIEWER]: And now I'd like you to know America's
number one song stylist, Miss Billie Holiday.
[APPLAUSE]
[MEMRY MIDGETT]: She closed the show.
And she sang encore after encore after encore.
If we stayed on that stage an hour...
we stayed on an hour and 30 minutes.
Well, after the concert was the fight.
Louis began to loudmouth, and that started a big rumble...
which then we all ended up out in the street...
and he literally knocked her across the street.
But she loved that punishment.
This is the nature of a masochist.
[CAMERA CLICKS]
After he had just beaten her severely and kicked her...
is that after they had gotten the punishment
then they had been so completely gratified
then they can just enter into a sexual tryst.
[CAMERA CLICKS]
Louis had a technique going of trying to control her mind.
It was like hypnotism.
"You can't depend on anyone but me".
"You have no friends but me, you must stay in here
and keep yourself away from everyone but me".
There were days when he just kept her under lock and key.
He'd boss her around...
and tell her she "couldn't do this"
she "couldn't do that".
And she wanted something to eat, and he'd say
"Go on to bed, you don't need anything to eat".
And she lost so much weight.
She looked like a skeleton.
[EARL ZAIDINS]: If you were to talk to Louis
he would probably tell you an entirely different story.
He's a pathological liar.
And he'd probably ask for money.
There was a time he came up to the apartment
after he hit her on the head.
[LINDA]: He said he hit her on the head with a telephone?
[EARL ZAIDINS]: Yeah, I locked her in my bathroom.
He came and he said, "I got a gun here".
[CASSETTE WINDS]
[LINDA]: See, I can't... I can't write
whether you're telling me something about Louis or not.
I can't say it, write it
because I'm liable
and he's alive and he's tough. - Yeah, mm-hm.
[LINDA]: I'm in trouble, not you.
[MYRA LUFTMAN]: In the process of interviewing for the book
Linda had been threatened...
by people within the world that she was travelling.
I don't know why she was threatened.
She was a journalist, she was interviewing...
but I think the threat was personally motivated.
At times, she said there was discomfort
with how she was spoken to
in terms of having a relationship with Basie.
I don't know whether it was because of the age.
I just know she had been threatened.
Not by Basie, but by some of the people surrounding him.
[LINDA]: OK, uh...
I guess we're gonna end now. Do you know something?
This is the end of our interview.
[CASSETTE CLICKS OFF]
♪ I'll never smile again ♪
♪ Until I smile at you ♪
♪ I'll never laugh again ♪
♪ What good would it do? ♪
[RAY ELLIS]:
I was in love with Billie...
not necessarily Billie, but somebody.
That voice, it turned me on.
But when I met her, she was a repulsive.
She looked a little scabby, a little dirty.
[MILT HINTON]: Poor Billie, her heart was just broken.
[INTERVIEWER]: Of all the songs you've written, Billie Holiday
which one most clearly tells your story?
[BILLIE]: Oh, I think "Don't Explain".
[INTERVIEWER]: Did you write the words and the music?
Yes. - Both of them?
[BILLIE]: I had help with it.
[INTERVIEWER]: Close your eyes and speak the words like a poet.
[BILLIE]: Um, hush now, don't explain.
I know you raised Cain.
I'm glad that you're back.
Don't explain.
Quiet, don't explain.
You mixed with some dame.
Skip that lipstick.
Don't explain.
♪ You know that I love you ♪
♪ And what love endures ♪
♪ All my thoughts are of you ♪
♪ For I'm so completely yours ♪
[MEMRY MIDGETT]: She would call me up maybe three
three thirty, four o'clock in the morning...
and it seemed like she was...
almost hallucinating...
and she would say, "Oh, I'm so scared
I'm here all by myself".
But she would talk to me for hours
and tell me about how she got started in prostitution.
She was 13 years old
and at that time, she had her own girls on the street.
She was terribly worried
about whether or not God would forgive her.
♪ My life ♪
♪ Yours, love ♪
♪ Don't explain ♪
[EARL ZAIDINS]:
[LINDA]:
[EARL ZAIDINS]:
[MEMRY MIDGETT]: As far as I'm concerned
her use of narcotics was just another way of self-punishment.
[RUBY DAVIES]: She told me that when she was a little girl
down in her hometown...
she was raped.
[BILLIE COUGHS] - [LINDA]: Who raped her?
[RUBY DAVIES]: She didn't tell me.
There were tears in her eyes.
[MARIE BRYANT]: She was always a vulnerable child to me.
I don't think she was ever really in love in her life.
Nor ever knew what it was.
She just suffered.
[MEMRY MIDGETT]:
[JO JONES]: She went to hospital on the Sunday.
She knew she was dying.
That damn hospital.
They had her under arrest, this woman laying in bed.
[DOROTHY WINSTON]: But she did tell me one time
that if they ever arrested her again
that she couldn't go through that experience
and she'd rather be dead.
[JO JONES]:
No innovator was like her, nobody!
And all she wanted to do was sing.
She ain't bothering nobody.
Billie had a Cadillac and a mink, so what?
What's wrong with that?
Wasn't she entitled to have a Cadillac?
Wasn't she entitled to have her mink?
Wasn't she entitled to have diamonds?
"Oh, you ain't supposed to have that...
you're a negro!
Stay in your place, you know".
All y'all need to do is get some black-eyed peas and rice
and that's all ya'll need.
I'm talking about what we went through.
No vocalist had ever went through what she went through.
"Greatest country in the world".
The most stupid, most prejudiced, racial people...
even as of today.
[INDISTINCT SHOUTING]
I'm leaving, quick as I can.
I will not be a part of this farce.
July the 17th.
That's when she died.
I closed up Miss Billie Holiday's casket...
and put two flowers on it.
[INTERVIEWER]: And the question, Billie, that I was going to ask
was that why so many jazz greats seem to die so early?
[BILLIE]: The only way I can answer that question is...
we try to live one hundred days in one day.
I, myself, try to please so many people.
I guess we all suffer.
[WIND WHISTLES]
[MYRA LUFTMAN]: It was in the middle of the blizzard
of 1978.
Linda was going to Washington D.C.
for a Basie concert.
And, um, we received a phone call from my mother...
and...
she said you have to come home, Linda just died.
The police told my parents that she had committed suicide
and jumped out of the window
and we were just devastated.
And also...
yeah, unsure that that...
was how she died.
To our knowledge, there was no note.
She was a writer, and there never was a letter.
At the time, the Washington D.C. police
did not have a great reputation
for integrity, and we really questioned
how much they had actually investigated Linda's death.
My thought is that, uh...
somebody had pushed her.
Uh...
I have absolutely no evidence of it...
only what I know of Linda, and, um...
the surrounding situations.
When Linda died, it appeared that she had been getting ready
to go to sleep, because one of her rituals
was to put on a facemask.
When she was found, she had the facemask on.
[MUSIC: "I Loves You, Porgy" by George and Ira Gershwin]
♪ I love you Porgy ♪
♪ Don't let him take me ♪
♪ Don't let him handle me ♪
♪ And drive me mad ♪
♪ If you can keep me ♪
♪ I wanna stay here ♪
♪ With you forever ♪
♪ I've got my man ♪
[JIMMY ROWLES]: I just thank the Lord
that I did know this girl
when things were different.
[BILLIE]: ♪ I know he's coming ♪
[JIMMY ROWLES]: And I would pray that she'd come back.
♪ He's going to handle me and... ♪
[JIMMY ROWLES]: Wouldn't that be nice, just one day?
♪ ...told me so... ♪
[JIMMY ROWLES]: But you had to get a good ticket
to get there.
♪ It's going to be... ♪
♪ Like dying ♪
[SYLVIA SYMS]: I can't cry about Billie now.
I don't even cry about her when I listen to her.
She makes me smile, even sadly.
And it's just too bad that it took all this time
for all of this shit to come up.
♪ I'll have to go ♪
♪ I love you Porgy ♪
♪ Don't let him take me ♪
♪ Don't let him handle me ♪
♪ And drive me mad ♪
♪ If you can keep me ♪
♪ I've gotta stay here ♪
♪ With you forever ♪
♪ I've got my... ♪
♪ ...man ♪
[APPLAUSE]
[MUSIC: "Funeral In New Orleans" by The Sonhouse All Stars]