Billie Holiday (27 page)

she did own records by Gershwin
: Blackburn,
With Billie,
p. 97.

At one point Aronowitz asked Billie
: Al Aronowitz, “The Saddest Song Ever Sung,” First of the Month, www.firstofthemonth.org/music/music_aronowitz_saddest.html.

She avoids the birdcall-like dips
: Humphrey Lyttelton,
The Best of Jazz
(New York: Taplinger, 1978), pp. 209–11.

All the while she is phrasing across the beat
: A second take of the song at a slower tempo exists but has less energy behind it. In a radio interview Phil Schaap asked Eddie Durham, the guitarist on the record, why the tempo was dropped on the second take. Durham replied that they'd taken a break to smoke a joint.

Preston Love said that she always listened
: Preston Love,
A Thousand Honey Creeks Later: My Life in Music from Basie to Motown and Beyond
(Middletown, CT: Wesleyan University Press, 1997), p. 219.

“Fitzgerald, entering the microphonic arena”
: “Chick, Basie Battle,”
New York Amsterdam News,
January 28, 1938.

“The reason for her dismissal”
: “Hammond Did Not Have Holiday Fired!”
Down Beat
, September 1938, p. 6.

Shaw wrote a short story
: Artie Shaw,
The Best of Intentions and Other Stories
(McKinleyville, CA: Daniel and Daniel, 1989); Willie the Lion Smith,
Music on My Mind
(New York: Doubleday, 1964).

“In a corner sat a distinguished-looking fellow”
: Timme Rosenkrantz and Inez Cavanaugh, liner notes to
Billie Holiday's Greatest Hits
.

“I gave her a record of Debussy's”
: Blackburn,
With Billie,
p. 97.

“She treated me well”
: Helen Forrest,
I Had the Craziest Dream: Helen Forrest and the Big Band Era
(New York: Coward, McCann & Geoghegan, 1982), pp. 58–59.

nightspot without racial barriers
: “Mixed Band at Café Society: Joe Sullivan Organizes 1st Name Negro-White Orchestra Downtown,”
New York Amsterdam News
, November 25, 1939, p. 1.

“I always looked on Billie as a finished performer”
: Kuehl manuscript, Rutgers University–Newark.

Holiday's recording of “Strange Fruit” was released
: The best source for information on this song is David Margolick's
Strange Fruit: Billie Holiday, Café Society, and an Early Cry for Civil Rights
(Philadelphia: Running Press, 2000), but additional material has been added here from the author's research. See also Nancy Kovaleff Baker, “Abel Meeropol (a.k.a Lewis Allan): Political Commentator and Social Conscience,”
American Music
, Spring 2002, pp. 25–79.

earlier pieces such as Bessie Smith's “Haunted House Blues”
: Adam Gussow,
Seems Like Murder Here: Southern Violence and the Blues
Tradition
(Chicago: University of Chicago Press, 2002).

Lead Belly's “Hangman's Blues” and “The Gallis Pole”
:
New Masses
, January 1931, p. 17; Lawrence Gellert,
Negro Songs of Protest
(New York: American Music League, 1936), pp. 10–11;
Workers' Song Book, No. 2
(New York: Workers' Music League, 1935), pp. 23–26.

the night in 1958 that she sang it for Maya Angelou
: Maya Angelou,
The Heart of a Woman
(New York: Random House, 1981), pp. 13–14.

“spell out all the things that had killed Pop”
: Holiday and Dufty,
Lady Sings the Blues
, p. 94.

She undoubtedly also knew the widely told account
: Chris Albertson,
Bessie
, revised and expanded edition (New Haven, CT: Yale University Press, 2003), pp. 255–71.

A few years later James Baldwin would write
: James Baldwin, “Many Thousands Gone,”
Notes of a Native Son
(Boston: Beacon Press, 1955), p. 25.

“separating the straight people from the squares”
: Holiday and Dufty,
Lady Sings the Blues
, p. 95.

interview that Holiday gave to
PM
newspaper
: Harriott, “The Hard Life of Billie Holiday”; Holiday and Dufty,
Lady Sings the Blues
, p. 94.

PM
's
editors printed a response
: “Letters: ‘Strange Fruit,'”
PM
, September 23, 1945, p. 19.

Herzog Jr., a publicist and writer of song lyrics
: When the book first appeared, Herzog said that he had written a piece that would give “an accurate accounting of what occurred referring to incidents Billie presents quite differently,” which he'd titled “Blue Lady Sings Off-Key.” It was apparently never published. Letter from Arthur Herzog Jr., to Leonard Feather, August 31, 1956, Institute of Jazz Studies, Rutgers University–Newark.

“If Allan wants to come into court with his sheet music”
: Letter from William Dufty to A. D. Weinberger, Esq., October 21, 1956, p. 2, H. Dennis Fairchild archive. As far as Milt Gabler was concerned, the band at Café Society had worked up the music.

“nothing happened until Miss Holiday did the song”
: Letter from William Dufty to Le Baron Barker, Doubleday and Co., October 26, 1956, p. 1, H. Dennis Fairchild archive.

“When black face is lifted”
: Gellert,
Negro Songs of Protest
, pp. 10–11.

“For years both American fellow travelers and the FBI”
: Dufty to Barker, October 26, 1956, pp. 1–3, H. Dennis Fairchild archive.

“We give this statement to clarify the facts”
: www.icollector.com/BILLIE-HOLIDAY-D-S_i559529.

“I can understand the psychological reasons”
: Quoted in Margolick,
Strange Fruit,
pp. 128–29.

not based on making a social statement
: Gilbert Millstein, “For Kicks: I,”
New Yorker
, March 9, 1946, p. 34.

there are downward arcs of notes
: Robert Cogan,
New Images of Musical Sound
(Cambridge, MA: Harvard University Press, 1984), pp. 35–37.

The melody she creates is quite different
: William T. Dargan,
Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans
(Berkeley: University of California Press, 2006), pp. 218–20.

White had never met Billie
: Josh White, “A Fighter: That's the Billie I Remember,”
Melody Maker
, August 8, 1959, p. 5.

An article titled “Strange Song”
: “Strange Record,”
Time
, June 12, 1939.

African American press was far more sympathetic
:
Atlanta Daily World
, June 19, 1939, p. 2.

Breit later wrote in a review
: Harvey Breit, “Implanting Bitterness,”
New York Times
, July 21, 1956.

“It was one of the first modern blues”
: Kuehl notes, Rutgers University–Newark.

the music she told him she wanted to sing
: Milt Gabler quoted in John McDonough, “On Disc: The Three Voices of Billie,”
Wall Street Journal
, December 16, 1991, p. A12.

The original version of “Gloomy Sunday”
: “Gloomy Sunday” was composed in 1933 by Rezso Seress, whose title in Hungarian translates as “The World Is Ending.” A later version with new Hungarian lyrics was written by László Jávor and retitled “Sad Sunday.” “Gloomy Sunday” was first recorded in English with lyrics by Sam M. Lewis, and rewritten again with another set of English lyrics by Desmond Carter. Billie Holiday's version used Lewis's lyrics.

It could also be played by an orchestra
: Paul Bailey, “Tong Sung Long,”
Times Literary Supplement
, October 29, 2004.

CHAPTER
EIGHT
:
The Songs II

“But then he contradicted himself”
: Clarke,
Wishing on the Moon
, p. 191.

“We changed the lyrics in a couple of spots”
: Holiday and Dufty,
Lady Sings the Blues
, p. 101.

“Trav'lin' Light” was an instrumental tune
: Thomas A. DeLong,
Pops: Paul Whiteman, King of Jazz
(Piscataway, NJ: New Century, 1983), pp. 251–52.

It is a song that has had a long life
: For a deeper look at this song, see the excellent chapter on Holiday's and Crosby's versions of “I'll Be Seeing You” in Brackett,
Interpreting Popular Music,
pp. 54–74.

feelings she may have had about her drug use
: Albert Murray interviewed by Robert O'Meally, unpublished, n.d., Robert O'Meally archive.

The song on the other side of the Decca single
: “Roger Ramirez” in Stanley Dance,
The World of Swing
(New York: Charles Scribner's Sons, 1974), p. 327.

She paused frequently
: Maya Gibson, “Alternate Takes: Billie Holiday at the Intersection of Black Cultural Studies and Historical Musicology,” PhD dissertation, 2008, University of Wisconsin–Madison; Mistinguett,
Mistinguett: Queen of the Paris Night
(London: Elek Books, 1954).

she remained in a torch mode
: Toft, “Lady Day the Torch Singer,” pp. 917–21.

“She'd walk over”
: Quoted in Chris Ingham,
Billie Holiday
(London: Unanimous, 2000), pp. 30–31.

“We never had time”
: Ibid., p. 102. An amateur recording of a 1955 Rowles-Holiday rehearsal is included in
The Complete Billie
Holiday on Verve, 1945–1959
.

“
display the complete interplay between us”
: Ibid., p. 96.

best audiences had been white
: Blackburn,
With Billie,
p. 302.

The strings were a comfort
: Ibid. For the record, Marilyn Moore, a singer with the Woody Herman and Charlie Barnet bands in the late 1950s, said she was very close to Billie at the time this record was being made and claimed that Billie said she had nothing to do with the planning of the
Lady in Satin
album, did not know who Ray Ellis was before this, and hated the
songs she did with violins because there were too many of them and she couldn't hear herself. When the record began to get airplay and reviews, however, she changed her mind about it (Ted Ono, liner notes to
Billie Holiday at Stratford '57
). There is a possibility that this is true, since Ellis said when she first saw how many string players there were she left the studio in tears and had to be talked into coming back. Such contradictions in accounts such as this one are not uncommon when the subject has not given many interviews and most of what we know of her comes from others.

The “ideal accompaniment for a jazz vocal”
: Glen Coulter, “Billie Holiday,” in Martin Williams, ed.,
Jazz Panorama
(New York: Crowell-Collier, 1962), p. 147.

Brooks's comments for the same CD reissue
: Michael Brooks's notes were dropped from the digitally remastered CD reissue in 1997.

The results may sound a bit weird
: My thanks to Andrew Homzy for his discussion of this recording on the Jazz Research List, August 29, 2013.

If that was so, Billie suggested
: Earle Zaidins, quoted in Blackburn,
With Billie,
p. 307.

“I'm Billie Holiday”
: Max Jones,
Talking Jazz
(New York: Norton, 1988), p.
257.

The page numbers in this index refer to the printed version of this book. To find the corresponding locations in the text of this digital version, please use the “search” function on your e-reader. Note that not all terms may be searchable.

“A Sailboat in the Moonlight,” 138–39

Adès, Thomas, 40

Afro-Latin music, 118

albums

Billie Holiday
, 194–96

Essential Billie Holiday: Carnegie Hall
, 47–48

Lady Day: The Complete Billie Holiday
, 191

Lady in Satin
, 128, 168, 191–95

Lady Sings the Blues
, 46–48

Last Recording
, 191, 194–96

alcohol use, 3, 24, 39, 44, 51, 68, 127, 192

Alexander, Willard, 146, 148, 155

Alhambra Grill (Harlem), 28

“All of Me,” 121, 128

Allan, Lewis, 158, 160–63, 167

“Am I Blue?,” 89, 171

American Federation of Musicians, 176

American Society of Composers, Authors and Publishers (ASCAP), 172–73

American South, 35–37, 64, 69, 78, 83, 86, 126, 151–53, 165

Anderson, Marian, 157, 163

Angelou, Maya, 44, 158–59

“Any Old Time,” 152–53

Apollo Theater (Harlem), 95, 101, 146, 187

Armstrong, Louis, 27, 35, 42, 89, 123, 188

autobiography of, 15, 57

Holiday's duets with, 186

influences Holiday, 4, 98–99, 108, 110–11

on film/TV, 56–59, 61–63

Aronowitz, Al, 143

Astaire, Fred, 82, 132, 145

audiences, 1, 28, 47, 110, 168, 198

African American, 49, 83, 93, 98–99, 127, 154

and Holiday's shows, 102–3, 107–8

Holiday's views on, 50

national/worldwide, 127–28

white, 50, 80–81, 83, 134–35, 154–55, 164, 192

“Autumn Leaves,” 92

Avakian, George, 168

“Back in Your Own Backyard,” 145–46

“Backwater Blues,” 85–86

Bailey, Mildred, 60, 87–88, 90, 147–49

Baldwin, James, 66, 143, 159

Balliett, Whitney, 11, 63, 117

Baltimore Afro-American
, 23

Baltimore, Maryland, 4, 12, 18, 23, 34, 67, 77

Bankhead, Tallulah, 22, 32, 34–38, 60, 100

Barker, Lee, 19, 21–22

Barnet, Charlie, 153

Barrymore, Ethel, 100

Bayes, Nora, 83

bebop, 100, 109, 127, 150, 178

Bechet, Sidney, 15, 38

Belly, Lead, 155, 157

Bennett, Tony, 90–91

Berg, Billy, 30, 188

Berigan, Bunny, 141–42

Berlin, Irving, 82, 157

Bernstein, Leonard, 28, 40, 132, 181–82, 185

Bernstein, Shirley, 181

Biberman, Herbert, 61–62

“Big Stuff,” 40, 132, 181–82

Billboard
charts, 139, 142, 176

Billie Holiday Orchestra, 121

“Billie's Blues,” 90, 116, 128, 132

Birdland, 143

Bishop, Elizabeth, 39–40

blackface, 79–80, 82–87, 95, 162

Bless My Bones
, 197

blues, 27, 81, 122, 124, 135–36, 170, 174

of Armstrong, 108, 110–11

and big bands, 146, 148, 151

falls out of favor, 86, 89

history of, 93–94

sung by black women, 77, 85–86, 88–96, 108–11

sung by Holiday, 3–4, 92, 94, 96, 100, 119, 143, 151, 165–67, 187

BMI, 173

Bob Haggart Orchestra, 121

boogie-woogie, 57, 180

Boswell Sisters, 96

Bowles, Paul, 106, 185

Breit, Harvey, 11–12, 167

Brice, Fanny, 4, 95, 132, 183

Broadway, 6, 32–33, 56, 67–68, 94, 110, 141, 176, 181, 192

Brooks, Michael, 194

Brooks, Shelton, 32, 60

Brunswick Record Company, 117, 137

Bryant, Marie, 188

cabaret, 103, 154

in Harlem, 35, 55, 98, 101, 134–35, 141, 156, 177

and Holiday, 4, 91, 94, 121, 156

traditions of, 91–92, 94–95, 133–34

Café Society (downtown), 40, 45, 61, 91, 114, 153–60, 163–66, 168, 173, 181

Café Society (Los Angeles), 187–88

Café Society (uptown), 156

California, 19–20, 37, 72

Calloway, Cab, 49, 170

Camarata, Toots, 168, 180

Capitol Records, 174–75

Carnegie Hall, 46–49, 106–7, 155, 187

Carney, Harry, 100, 140

Carpenter, Thelma, 28, 88, 143

Carroll, Diahann, 65, 68

Carter, Benny, 182, 189

Carter, Betty, 78

Carter, Desmond, 169

chanteuses, 1, 13, 90–91, 164, 170, 177, 183

Charles, Jacques, 183

Cheatham, Doc, 124

Chicago, 57, 60, 98, 105, 120

Chick Webb band, 139, 147

Christy, June, 2

Clayton, Buck, 144–46, 155

Clef Records, 19, 46, 127, 184

Cleveland, Jimmy, 195

Clooney, Rosemary, 2, 44–45, 90, 139

Cole, Cozy, 142

Cole, Nat, 91

Colona, Jerry, 187

Columbia Records, 67, 126, 128, 141, 168, 171, 174–75, 191–92

Commodore Records, 126, 164, 167–68, 171, 179, 185

Confidential
magazine, 51

Connie's Inn (Harlem), 32, 134

coon songs/singers, 77, 81–86, 93, 95

copyrights, 161–63, 172–74, 179

Coronet
magazine, 25, 48

Cory, George, 91, 182

Cotton Club, 87, 94, 134, 142

Coulter, Glen, 193

Count Basie band, 47, 63, 124, 146–48, 150, 187, 191

Cowan, Lester, 64–66

Coward, Noël, 77, 95, 155

Crane, Louise, 40–43

“Crazy He Calls Me,” 180, 187

Crosby, Bing, 2–3, 90, 132, 174, 176

Cross, Douglass, 91, 182

Crouch, Stanley, 3

Crystal, Jack, 44, 126

Cuban music, 118, 150–51

dance, 132, 151, 155, 162, 169–70, 177, 181–82, 184

Dandridge, Dorothy, 64–65, 67, 143

Davis, Jimmy, 179

Davis, Miles, 6, 20, 44, 49, 100, 107, 115, 143, 170, 194

Davis, Ossie, 67

Day, Doris, 2, 191

“Day Lady Died, The,” 197

de Beauvoir, Simone, 42–43

Decca Records, 126–27, 143, 146, 164, 168, 171, 173–74, 179–81, 184–85, 187, 189

“Deep Song,” 91, 133, 182, 186

del Rio, Dolores, 30–31

DeSylva, Buddy, 174

Dickenson, Vic, 124

discrimination, 50, 52, 124, 135, 151–53, 157, 159, 178, 188.
See also
race; racism

Dodge, Roger Pryor, 100

Donahue, Jimmy, 32–34

“Don't Explain,” 120, 132, 161, 173–74

doo-wop, 177

Dorsey brothers, 149, 151, 176

Doubleday, 14, 17, 19, 21–23, 27–28, 38, 51, 161, 163

Down Beat
, 12, 18, 49, 99, 151

Downbeat Club (New York City), 42

drugs, 62–63, 65, 67–68

Holiday arrested for, 12, 43, 47, 51, 72, 196

Holiday jailed for, 34, 37, 49, 64, 70, 106, 179, 187

and Holiday's life, 3, 25, 29, 41, 45, 48, 60, 106–7, 127, 175

Holiday's views on, 49, 51, 53, 179

and jazz musicians, 11, 16, 20, 43, 49, 69, 178–79

and
Lady Sings the Blues
, 20, 22–23, 27, 43

dual-track time, 118, 121

Dufty, Bevan, 45

Dufty, Maely Daniele, 16, 23

Dufty, William, 46–47, 52, 67, 143

articles on Holiday, 43–44, 48, 50–51, 53, 197

career of, 15–17

as coauthor, 6, 14–25, 28, 32

and
Lady Sings the Blues
film, 64, 66, 69

on “Strange Fruit,” 161–63

Early, Gerald, 48

Ebony
, 17, 20, 35, 49

Eckstine, Billy, 100–1

Ed Sullivan Show
, 95

Edison, Harry “Sweets,” 189, 195

Ehrlich, Jake, 64

Ellington, Duke, 55–56, 59, 73, 100–1, 132, 139–40, 142, 147, 149, 180, 188

Ellis, Ray, 128, 191–96

Esquire
, 50

Europe, 138, 154, 156, 168–69.
See also
musical traditions: European

Evans, Herschel, 146

“Falling in Love Again,” 103

Fancy Free
ballet, 132, 181–82

FBI, 4, 37, 49, 160, 162

Feather, Leonard, 44, 63

films, 110, 157

about African Americans, 55–62, 64–68

about Holiday's life, 64–71

Holiday's roles in, 1–2, 55–57, 59–62, 197

Holiday's songs in, 55, 60, 66, 170

“Fine and Mellow,” 41, 90, 105, 120, 124, 132–33, 167

Fitzgerald, Ella, 78, 109–10, 138–40, 145, 147–48, 185, 189–90

flappers, 77, 87

Florida, 17, 40

folk music, 40, 93, 110–11, 122, 142, 150, 155, 157, 165, 167, 172

“Foolin' Myself,” 113, 115–17

Forrest, Helen, 99–100, 138, 151–52

Franklin, Aretha and R. L., 80

French music, 92, 94–95, 121, 162, 177, 183

Friedwald, Will, 99

Furie, Sidney, 69

Gable, Clark, 28, 33

Gabler, Milt, 126, 154, 164, 167–68, 179, 181–82, 186, 189

Gardner, Ava, 28, 65–66

Gershwin, George, 132, 141–45, 161, 174

Gillespie, Dizzy, 100

“Gimme a Pigfoot,” 109, 186

Glaser, Joe, 22, 60, 68, 191–92, 197

“Gloomy Sunday,” 4, 132–33, 168–71, 184

“God Bless the Child,” 63, 120, 132, 161, 168, 170–73, 187

Golden Gate Quartet, 61, 155

“Good Morning Heartache,” 183

Goodman, Benny, 33–34, 56, 63, 125–26, 136, 146–47, 149, 153, 155

Gordon, Dexter, 123

Gordon, Robert, 158

Gordy, Berry, 68–69

gospel music, 88, 122

Granz, Norman, 19, 22, 127, 154, 188–92

Great Depression, 136, 154, 169, 177

Griffin, Farah, 13–14

Guarnieri, Johnny, 117–18

Hal Kemp Orchestra, 169

Hammond, John, 28, 41, 63, 67, 88, 126–27, 135–38, 141, 146, 148, 153–55, 164, 167

Hampton, Lionel, 33, 164, 188

Hanighen, Bernie, 141, 150, 183

“Hard Life of Billie Holiday” (Harriott), 18

Hardwick, Elizabeth, 42, 105, 184

Harlem, 16, 30, 63, 83, 94, 178

clubs in, 27–29, 35, 95, 98, 101, 107, 135, 149–50

Holiday dies in, 51, 196–97

Holiday lives in, 64, 101

musicals about, 32, 67, 82

and racial interaction, 154–55

white audiences in, 154–55, 164

See also
cabaret;
specific club names

Harlem Renaissance, 71, 77, 106, 134

Harriott, Frank, 7, 18

Harris, Sarah (Sadie),
see
Holiday, Billie: and mother, Sadie

Hawkins, Coleman, 63, 124, 165

Hayworth, Rita, 31

“He Ain't Got Rhythm,” 125

Held, Anna, 83

Hentoff, Nat, 12, 63

Herzog, Arthur Jr., 63, 161–62, 172–74, 182–83

Heywood, Eddie, 179

Higginbotham, Irene, 183

Hildegard (supper club singer), 169–70, 176

Hines, Earl, 174

Hodges, Johnny, 100, 139–40, 144

Holiday, Billie

abused by men, 3, 34, 36, 70, 107

biographies on, 1–5, 13–14, 52, 104, 106, 186, 194

celebrity fans of, 28–30, 32, 40–42, 149

childhood of, 4, 12–13, 16, 18, 23, 25, 28, 34, 44, 50, 67, 70, 94

and children, 44–45

darkens skin, 80

death of, 38, 48, 51–53, 66, 68, 194, 196–97

descriptions of, 39, 42–43, 47, 63, 72, 104–6, 149–50, 156–57, 166, 190

fame/popularity of, 1–4, 69, 71, 128, 137, 182

financial troubles of, 16, 22, 29, 101, 175, 191

as godmother, 16, 44–45

good ear of, 147, 151, 180

on her inspirations, 108–9

on her own singing, 51, 100–101, 131, 168, 198

husbands of, 16, 25, 30, 49, 51, 67, 69–71, 106, 173

influence of, 1–4, 6–7, 40, 93, 120, 170

influences on, 4, 6, 87–91, 94, 118–19, 167

lovers of, 16, 22, 40–43, 56, 160

and mother, Sadie, 29, 40, 44, 60, 64, 77, 88, 101, 166, 172–73, 175

musicals about, 2, 67

pay of, 29, 34, 42, 51, 101, 106, 141, 152, 179

personality of, 1, 4, 17–18, 36, 100, 107, 124, 146–47, 156

photographs of, 1, 14, 71–73, 106, 185, 196

and the police, 16, 36, 43, 151

poor health of, 47, 124–25, 128, 192–96

public persona of, 1, 13, 25, 107, 124

religious beliefs of, 52–53

and songwriters, 182–83

on “Strange Fruit,” 159–61

as unreliable performer, 16–17, 148, 185

as untrained singer, 101–2, 181

voice of, 12, 97, 105–6, 109–10, 127–29, 131–32, 147, 168, 193–95

writings by, 2, 5, 12, 15, 17, 20, 49–52, 197

Holiday, Billie: performances, 3, 5, 94, 177, 187

acting style of, 102–5

with big bands, 117, 146–48, 150–53

booking of, 17, 40, 192

and cabaret card, 12, 34, 47, 49, 63, 72, 163

and onstage persona, 5, 107–8, 124

her views on, 186

at party, 33–34

praise of, 47, 104–6, 156–57, 185–86, 197

reactions to, 39, 47, 50, 101, 104–8, 115, 124, 160

See also
films; television;
specific venue names

Holiday, Billie: recordings, 2, 108, 152–53

of 1930s, 97–98, 136–37, 141, 189–91

of 1940s, 121–22, 126–27, 186

of 1950s, 127–29, 184, 189–96

with backup singers, 186, 191, 193, 195

with bands/orchestras, 121, 128, 179–81, 184, 191, 193–95

contracts for, 152, 179

criticism of, 168, 193–94

for jukeboxes, 98–99, 123, 137

live, 47, 147–48

rerecordings of, 46, 127–29, 132, 173–74, 181–83, 186–87, 192

under her name, 123, 141

See also
albums; music producers;
specific record companies
;
specific song titles