Eleanor Feagan, most commonly known as Billie Holiday, was an American jazz musician and singer-songwriter who had a career lasting nearly 30 years. The way she sang had been strongly inspired by jazz instrumentalists and introduced a new way of controlling phrasing and tempo. She carried an abundant amount of emotion and character in her voice, in addition to her material. Holiday is one of the most influential jazz musicians of all time and has had an everlasting influence on American music. The Harlem Renaissance was the “rebirth” of African American social and intellectual life during the 1920s and 1930s.
orchestra. By the mid-1940’s, Ella was already a well-respected performer known throughout the music industry for her energetic and vibrant voice as well as for her exceptional control and vocal range. Continuing under the Decca label that Chick Webb’s orchestra worked with, Ella recorded many popular hits with various artists. Not only did Ella collaborate with Chick Webb, she also worked with the Benny Goodman Orchestra, Bill Kenny and the Ink Spots, Louis Jordan, the Delta Rythym Boys, and many others. She even struck out on her own to create Ella Fitzgerald and Her Savoy Eight.
Form here Bessie shifter her performances from blues into something that fit the swing era. The swing band she performed with had members such as trombonist Jack Teagarden, trumpeter Frankie Newton, tenor saxophonist Chu Berry, pianist Buck Washington, guitarist Bobby Johnson and bassist Billy Taylor. This band recorded such songs as “Take Me for a Buggy Ride” and “Gimme a Pig foot (And a Bottle of Beer)” and both songs continued to be ranked her most popular. On September 26th, 1937 as Bessie Smith and a friend were driving to a performance there car was involved in an accident. Bessie was severely injured and later died in hospital At the highest point in her career Bessie Smith sold more recordings and earned more money than any other blues performer.
Amy has always been encompassed in music, surrounded by uncles on her mother’s side that were jazz musicians, her father, a former singer, and her grandmother was once in a relationship with Ronnie Scott, a jazz musician. By the time Winehouse was 12, she was enrolled in the esteemed Sylvia Young Theatre School, where a fellow classmate passed along a tape of her singing to his music label, which eventually led to Winehouse getting signed to Island/Universal. That same year, “Winehouse was expelled for ‘not applying herself’ and piercing her nose”(Biography.com 1). Winehouse’s professional career began when she released her first album, “Frank”, in 2003. For this, “the album was nominated for the Mercury Music Prize as well as two BRIT awards for Best Female Solo Artist and Best Urban Act.
Ethel Merman who was born in 1908 as (Ethel Agnes Zimmerman) was an american actress and singer from Astoria , New York . Though Ethel was not trained in music many said she could“ belt out a song like no one else ” , many songwriters still sought out Ethel’s music knowing she was untrained such as Irving Berlin and Cole Porter who was known as major songwriters of the early 1900’s . Ethel is remembered for her great appearances in many great musicals . She started her career by singing at private parties and nightclubs . She was hired as a torch singer at Les Ambassadeurs and from there she began to gain publicity .
He named her "Lady Day," and that title (or simply "Lady") became her jazz world soubriquet from the mid-1930s on; she labeled him "President of Tenor Saxophonists. "Their musical symbiosis, especially on the 1935-1939 small-group recordings, is one of the miracles of jazz; on "This Year's Kisses," "He's Funny That Way," "A Sailboat in the Moonlight," "Me, Myself and I," "Mean to Me," and a raft of other tunes tenor sax and voice interweave so sympathetically that they sound as if they're poured from the same bottle. After the late 1930s they rarely recorded together, but to the end remained soulmates as Romeo and Juliet. (They died the same year Lester died March and Billie Holliday died July) Billie's career reached its zenith in the very late 1930s. In 1938 she shaped a prolonged engagement at Cafe Society; the following year she joined Benny Goodman on a radio broadcast; she was regularly operating the massive New York theaters and the famous 52nd Street clubs, including Kelly's Stables and the Onyx Club all in addition to her recording successes.
These two women show us how Hollywood treated black and white passing actresses. Hollywood sees Gloria as their latest star and dubs her as “America’s little sweetie pie”. She is given the leading lady role in almost all the new films and when she 's older she can still get work in acting. She is most famously known playing Marie in The Belle of New Orleans and much later on she is honored with the United Motion Pictures Medal of Honor. She is adored and successful even when it is hinted that she is not fully white.
Body 4: Maria Tallchief became was the first American in a century to dance for the Paris Opera Ballet. In 1953, President Eisenhower named her “Woman of the year.” That same year, the state of Oklahoma declared June 29 “Maria Tallchief’s day.” In her long career, Tallchief’s most famous performance was in The Firebird. As she danced, Tallchief must have remembered her grandmother’s voice recounting the Osage Legends of fire spirits walking the earth. Conclusion: Maria has always dreamed of being a dancer. She went through many things to become a professional dancer.
Women found it in there place to dance and it’s surely no coincidence that this was an era obsessed with dancing. From the barefoot ecstasies of Isadora Duncan, whose free, expressive dancing struck a blow against the corseted rigours of classical ballet, to the collective jazzing of the 1920s, dance came to play a surprisingly emblematic role in the story of women’s liberation. In the early 1900s, people saw women accomplish key political gains as well as the right to vote. At the same time, many women of the time were also pushing for another kind of freedom. They were pushing for the right to dress as they chose, and to have more control over their own bodies.
Valaida Snow, Viola (Vi) Burnside, and Melba Liston were three revolutionary female pioneers in jazz. In the book The International Sweethearts of Rhythm, Billy Taylor says, “If one were to ask the average jazz enthusiast to name twenty first-rate jazz instrumentalists...the list...would probably include one or two women…[d]espite the fact that from the earliest days of jazz to the present women have made important and lasting contributions to the common vocabulary and the evolution of the music” (qtd. in Handy x). Each of these three women and others like them have contributed to the jazz idiom in their own way, but this is a man’s world (although it wouldn’t be nothing, nothing without a woman or a girl) their time to shine seemed to have