THE CANON
vs.
BILLIE HOLIDAY:
The canon discussed in class is a the Romanticized collection of “best of” – works and people considered to be the best, greatest, foundational, influential, etc. More specifically, the canon we focus on is from Upton’s promoted the separation of gender roles that pushed women to a lower standard in society compared to men.
Billie Holiday abolished stereotypical female gender roles during her career. “Billie was openly bisexual and was rumored to have had a notable affair with Tallulah Bankhead” according to an article written by the Georgia Voice. Holliday’s very existence went against many Romanticized ideals: a lead female singer who was black, openly bisexual, believed to be involved in an interracial relationship and was not afraid to speak her mind. In addition to being an LGBTQ member during a time where homosexuality was not tolerated, her being a black singer in a racist America is something else she faced. An article by slate.com says that Holiday was forced off stage after singing “Strange Fruit“, a landmark song that highlighted the travesties of living as a black American in this time, more specifically the lynching of said black Americans. She was the middle of controversy, which is not normal for a female singer based on societal standards, and many tried to silence her, ranging from those closer to her, such as her record label, all the way to the Federal Bureau of Narcotics.
Due to the societal expectations of women in music, Billie made her mark as the lead singer in her music. Women during this time were expected to sing and only sing, the idea of women playing instruments, let alone jazz instruments, was considered blasphemous. Although Holiday wasn’t known to play any physical instruments, she saw her voice as her musical instrument. According to an article by Wendy Mead for Biography, holiday once said “If I’m going to sing like someone else, then I don’t need to sing at all.” Similarly, The Sydney Morning Herald explains that “Holiday imparted a bittersweet quality to the melancholy songs” and “she could make songs ache with desolation without becoming angst-ridden.” The typical female performance that was accepted was very uniform and love-obsessed. Holiday’s music bore genuine feeling, including pain and emotion, which is prevalent in her infamous single, Strange Fruit.
John Shand, writer of the same article for The Sydney Morning Herald, says that before 1970, women were forced to join all-female bands in order to work, which was harder to come by than an all male-band. Shand then states that most musical roles and teachings occupied by women are undervalued. Holiday is one of jazz’s most well known vocalists and is an icon for women and for African Americans during the 20th century. She even reached to influence at least two more very well known artists: Miles Davis and Frank Sinatra. Despite being downplayed by society, Holiday continued performing, doing what she loves, and having an impact on 20th century America.
Holiday is an icon and legend in the music industry. She overcame those who scolded her for her sexuality, her gender, her race, everything that she used as motivation. She is one example of the women who could prove Upton wrong in saying that woman “has not succeeded when she has had the opportunity.” The musical canon we learned about acted as obstacles for her to overcome and has ultimately makes her all the more notable when looking back her legacy.