subtitlecat.com

All language subtitles for Billie.2019.1080p.WEBRip.x264.AAC5.1-[YTS.MX]

Afrikaans

Akan

Albanian

Amharic

Arabic

Armenian

Azerbaijani

Basque

Belarusian

Bemba

Bengali

Bihari

Bosnian

Breton

Bulgarian

Cambodian

Catalan

Cebuano

Cherokee

Chichewa

Chinese (Simplified)

Chinese (Traditional)

Corsican

Croatian

Czech

Danish

Dutch

English Download

Esperanto

Estonian

Ewe

Faroese

Filipino

Finnish

French Download

Frisian

Galician

Georgian

German

Greek

Guarani

Gujarati

Haitian Creole

Hausa

Hawaiian

Hebrew

Hindi

Hmong

Hungarian

Icelandic

Igbo

Indonesian

Interlingua

Irish

Italian

Japanese Download

Javanese

Kannada

Kazakh

Kinyarwanda

Kirundi

Kongo

Korean Download

Krio (Sierra Leone)

Kurdish

Kurdish (Soranî)

Kyrgyz

Laothian

Latin

Latvian

Lingala

Lithuanian

Lozi

Luganda

Luo

Luxembourgish

Macedonian

Malagasy

Malay

Malayalam

Maltese

Maori

Marathi

Mauritian Creole

Moldavian

Mongolian

Myanmar (Burmese)

Montenegrin

Nepali

Nigerian Pidgin

Northern Sotho

Norwegian

Norwegian (Nynorsk)

Occitan

Oriya

Oromo

Pashto

Persian

Polish

Portuguese (Brazil)

Portuguese (Portugal) Download

Punjabi

Quechua

Romanian

Romansh

Runyakitara

Russian

Samoan

Scots Gaelic

Serbian

Serbo-Croatian

Sesotho

Setswana

Seychellois Creole

Shona

Sindhi

Sinhalese

Slovak

Slovenian

Somali

Spanish Download

Spanish (Latin American)

Sundanese

Swahili

Swedish

Tajik

Tamil

Tatar

Telugu

Thai

Tigrinya

Tonga

Tshiluba

Tumbuka

Turkish

Turkmen

Twi

Uighur

Ukrainian

Urdu

Uzbek Download

Vietnamese

Welsh

Wolof

Xhosa

Yiddish

Yoruba

Zulu

Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:45,125 --> 00:00:47,208 [POLICE SIRENS WAIL] 4 00:00:47,583 --> 00:00:49,916 [POLICE RADIOS CHATTER] 5 00:00:59,166 --> 00:01:00,583 [CASSETTE REWINDS] 6 00:01:02,250 --> 00:01:05,875 [BILLIE HOLIDAY SINGS]: ♪ Saddest tale on land or sea ♪ 7 00:01:06,625 --> 00:01:11,333 ♪ Was when my man walked out on me ♪ 8 00:01:12,958 --> 00:01:14,791 [CASSETTE REWINDS] - LINDA: I'd like to write 9 00:01:14,875 --> 00:01:16,291 something that is real, you know 10 00:01:16,375 --> 00:01:18,250 that is really Lady, and, uh... 11 00:01:18,333 --> 00:01:21,250 people who don't see her in any sentimental way 12 00:01:21,333 --> 00:01:23,083 you know, really as she is. 13 00:01:26,208 --> 00:01:29,000 [JIMMY ROWLES]: I'd like to hear what Bobby Tucker said... 14 00:01:29,083 --> 00:01:30,208 What'd he say? 15 00:01:30,291 --> 00:01:31,291 [LINDA]: I can't say. 16 00:01:31,416 --> 00:01:32,791 [JIMMY ROWLES]: But you can give me an idea. 17 00:01:32,875 --> 00:01:35,500 [LINDA]: I can't. I never talk, and nobody ever hears the tapes. 18 00:01:35,583 --> 00:01:36,625 [CASSETTE WINDS] 19 00:01:36,708 --> 00:01:37,958 [JO JONES]: Are you interviewing me 20 00:01:38,000 --> 00:01:39,208 or am I interviewing you? 21 00:01:39,291 --> 00:01:41,333 When I tell you something, you print it! 22 00:01:42,291 --> 00:01:44,291 Billie's dead, you're talking to me now. 23 00:01:52,833 --> 00:01:54,375 [RADIO PRESENTER]: Well, my friend today is 24 00:01:54,458 --> 00:01:57,416 a gal who has been singing jazz for a good many years now. 25 00:01:57,500 --> 00:01:59,333 Long enough to earn for herself the title 26 00:01:59,375 --> 00:02:01,666 "The world's greatest Jazz vocalist". 27 00:02:02,125 --> 00:02:04,125 Miss Billie Holiday. - [APPLAUSE] 28 00:02:05,208 --> 00:02:07,875 [MUSIC: "Now or Never" by Billie Holiday] 29 00:02:08,416 --> 00:02:11,375 ♪ Hey there, baby, make up your mind ♪ 30 00:02:11,708 --> 00:02:15,250 ♪ Cos I've been waiting such a long, long time ♪ 31 00:02:15,958 --> 00:02:21,333 ♪ Now, baby, or never, I've been so sad and blue ♪ 32 00:02:22,416 --> 00:02:25,083 ♪ Now, baby, or never ♪ 33 00:02:25,333 --> 00:02:28,500 ♪ I've been so lonesome, too ♪ 34 00:02:29,250 --> 00:02:32,083 ♪ Now, baby, or never ♪ 35 00:02:32,291 --> 00:02:35,000 ♪ If I mean anything to you ♪ 36 00:02:36,083 --> 00:02:38,833 ♪ Now, baby, or never ♪ 37 00:02:39,291 --> 00:02:42,541 ♪ Cos I've wasted so much time ♪ 38 00:02:43,166 --> 00:02:45,666 ♪ Now, baby, or never ♪ 39 00:02:46,166 --> 00:02:48,875 ♪ And it ain't no fault of mine ♪ 40 00:02:49,166 --> 00:02:52,166 ♪ It's gotta be yes or no ♪ 41 00:02:52,291 --> 00:02:55,666 ♪ It's either you stay or go ♪ 42 00:02:55,750 --> 00:02:58,833 ♪ You can't leave me on the shelf ♪ 43 00:02:59,333 --> 00:03:02,666 ♪ You gotta commit yourself ♪ 44 00:03:02,750 --> 00:03:04,583 ♪ It's either you will ♪ 45 00:03:05,000 --> 00:03:08,000 ♪ Baby, or you won't fall in love with me ♪ 46 00:03:08,083 --> 00:03:09,125 [CASSETTE CLICKS] 47 00:03:09,208 --> 00:03:11,291 [LINDA]: An interview with Sylvia Syms 48 00:03:11,416 --> 00:03:13,875 January 20th, 1973. 49 00:03:14,833 --> 00:03:16,916 [SYLVIA SYMS]: To the people in our industry 50 00:03:17,000 --> 00:03:18,791 she was the great lady of all time. 51 00:03:19,791 --> 00:03:21,041 She was the queen bee. 52 00:03:21,541 --> 00:03:24,083 ♪ I've been so sad and blue ♪ 53 00:03:24,500 --> 00:03:26,875 [SYLVIA]: Without even trying, she was the most sensual 54 00:03:26,958 --> 00:03:28,416 of all of the lady singers. 55 00:03:28,500 --> 00:03:31,041 ♪ I've been so lonesome, too ♪ 56 00:03:31,375 --> 00:03:33,500 [SYLVIA]: I saw the whole world in that face... 57 00:03:35,541 --> 00:03:37,708 all of the beauty and all of the misery. 58 00:03:39,458 --> 00:03:43,125 Billie Holiday sang only truth, she knew nothing else. 59 00:03:44,000 --> 00:03:46,041 ♪ Now, baby, or never ♪ 60 00:03:46,666 --> 00:03:49,791 ♪ I've been so sad and blue ♪ 61 00:03:50,500 --> 00:03:53,083 ♪ Now, baby, or never ♪ 62 00:03:53,166 --> 00:03:55,291 [TONY BENNETT]: Met her in Philadelphia, once. 63 00:03:55,958 --> 00:03:58,750 There was a funny situation because I was very unknown 64 00:03:58,833 --> 00:04:02,416 I was just a fan, and she just kinda lifted up her skirt 65 00:04:02,583 --> 00:04:04,875 and went right into her stocking and took out a bill 66 00:04:04,958 --> 00:04:06,583 and said get me some gin, son. 67 00:04:06,666 --> 00:04:08,083 [TONY AND LINDA LAUGH] 68 00:04:08,166 --> 00:04:11,750 ♪ I'm gonna call you once more on the telephone ♪ 69 00:04:12,000 --> 00:04:15,583 ♪ I'll give you till twelve, then I'll be gone ♪ 70 00:04:15,916 --> 00:04:17,291 [LINDA]: In what way do you think of her 71 00:04:17,375 --> 00:04:18,500 as being innovative? 72 00:04:18,625 --> 00:04:20,666 [TONY BENNETT]: Well, the fact that she just told 73 00:04:20,750 --> 00:04:23,041 her own story, just by being herself. 74 00:04:23,166 --> 00:04:25,333 ♪ Now, baby, or never ♪ 75 00:04:25,416 --> 00:04:27,458 [TONY BENNETT]: Must be a pretty interesting story 76 00:04:27,541 --> 00:04:28,750 that you're writing. 77 00:04:28,833 --> 00:04:30,250 She's had a wild life. 78 00:04:30,750 --> 00:04:34,083 [BILLIE HOLIDAY]: ♪ You gotta commit yourself ♪ 79 00:04:34,333 --> 00:04:37,416 ♪ It's either you will, baby, or you won't ♪ 80 00:04:37,500 --> 00:04:41,583 ♪ Fall in love with me ♪ 81 00:04:41,666 --> 00:04:44,250 [TONY BENNETT]: I wanna know why all girl singers crack up. 82 00:04:44,333 --> 00:04:45,583 [APPLAUSE] 83 00:04:46,000 --> 00:04:47,250 They all crack up! 84 00:04:48,166 --> 00:04:51,125 When they hit the top, something tragic happens. 85 00:04:52,625 --> 00:04:54,416 I wanna know what causes that. 86 00:05:04,125 --> 00:05:05,875 [BOAT HORN BLOWS] 87 00:05:06,416 --> 00:05:08,708 [MUSIC: "God Bless The Child" by Billie Holiday and Tony Bennett] 88 00:05:08,833 --> 00:05:13,458 [BILLIE]: ♪ Them that's got shall have ♪ 89 00:05:14,666 --> 00:05:17,875 ♪ Them that's not shall lose ♪ 90 00:05:18,666 --> 00:05:24,916 ♪ So the Bible said and it still is news ♪ 91 00:05:26,000 --> 00:05:28,708 ♪ Mama may have ♪ 92 00:05:29,541 --> 00:05:31,958 ♪ Papa may have ♪ 93 00:05:32,875 --> 00:05:38,208 ♪ But God bless the child that's got his own ♪ 94 00:05:39,250 --> 00:05:41,708 ♪ That's got his own ♪ 95 00:05:43,041 --> 00:05:44,750 [BILLIE]: The things that I sing 96 00:05:45,000 --> 00:05:47,666 have to have something to do with me and my life 97 00:05:47,833 --> 00:05:50,041 and my friends' lives. 98 00:05:50,458 --> 00:05:51,625 They have a meaning. 99 00:05:52,208 --> 00:05:58,958 ♪ Empty pockets don't ever make the grade ♪ 100 00:05:59,208 --> 00:06:02,208 [BILLIE]: 101 00:06:21,708 --> 00:06:28,333 ♪ Money, you've got lots of friends ♪ 102 00:06:29,375 --> 00:06:30,750 ♪ Crowding round... ♪ 103 00:06:30,916 --> 00:06:35,000 [BILLIE]: 104 00:06:39,375 --> 00:06:40,833 [JOHN FAGAN]: We used to stay together 105 00:06:40,916 --> 00:06:42,458 as small kids. 106 00:06:42,541 --> 00:06:43,791 [LINDA]: How old were you? 107 00:06:43,875 --> 00:06:45,583 [JOHN FAGAN]: Eight or nine years old. 108 00:06:46,375 --> 00:06:48,291 Her and her mother were very close. 109 00:06:48,416 --> 00:06:49,708 They were very close. 110 00:06:51,416 --> 00:06:54,416 The area she came up in, as a kid... 111 00:06:55,583 --> 00:06:57,458 everybody knew each other, you know. 112 00:06:58,000 --> 00:07:00,208 It was just a nice community to live in 113 00:07:00,291 --> 00:07:01,791 even though we were poor. 114 00:07:03,208 --> 00:07:06,125 It was a different type of poor what they call today, you know. 115 00:07:06,750 --> 00:07:09,791 If we made it and we were happy with what we had. 116 00:07:11,750 --> 00:07:15,750 [SONG CONTINUES] ♪ Crowding round no more ♪ 117 00:07:17,125 --> 00:07:20,750 ♪ Rich relations give... ♪ 118 00:07:21,250 --> 00:07:23,708 [JOHN FAGAN]: In the bloom of her youth, she was pretty. 119 00:07:23,750 --> 00:07:24,625 [HE CHUCKLES] 120 00:07:25,583 --> 00:07:28,833 ♪ You can help yourself ♪ 121 00:07:29,166 --> 00:07:30,250 ♪ But don't take... ♪ 122 00:07:30,333 --> 00:07:31,750 [JOHN FAGAN]: People played on her. 123 00:07:31,833 --> 00:07:33,541 [LINDA]: Did they play on her when she was a kid? 124 00:07:33,625 --> 00:07:34,625 [JOHN FAGAN]: Of course. 125 00:07:34,708 --> 00:07:36,791 [LINDA]: Who? Who? - [JOHN]: The men folks. 126 00:07:36,875 --> 00:07:39,708 ♪ Papa may have ♪ 127 00:07:40,500 --> 00:07:46,208 ♪ But God bless the child that's got his own... ♪ 128 00:07:48,583 --> 00:07:50,291 [LINDA]: You hung out with Billie? 129 00:07:50,375 --> 00:07:51,541 [JOHN FAGAN]: That's right. 130 00:07:51,625 --> 00:07:52,916 [LINDA]: You called her Eleanora. 131 00:07:53,000 --> 00:07:55,708 [MARY]: That's her name, Eleanor, Eleanora Fagan. 132 00:07:55,791 --> 00:07:57,666 That's the name that we knew her by. 133 00:07:58,666 --> 00:08:00,291 [LINDA]: You never knew the father? 134 00:08:00,541 --> 00:08:02,458 [MARY]: No, I never knew her father, no. 135 00:08:03,541 --> 00:08:05,541 [LINDA]: Did she curse a lot when she was a kid? 136 00:08:06,208 --> 00:08:07,541 [MARY]: Yep. - [LINDA]: What'd she say? 137 00:08:07,625 --> 00:08:08,750 What were her favourite words? 138 00:08:08,833 --> 00:08:09,875 [MARY]: "Motherfucker". 139 00:08:09,958 --> 00:08:12,250 [LINDA]: Every other word was motherfucker. What else? 140 00:08:12,333 --> 00:08:14,416 [MARY]: "Cocksuckers", that was her word. 141 00:08:14,500 --> 00:08:16,125 "Motherfucker", "cocksucker"... 142 00:08:17,333 --> 00:08:19,375 She would say, "You suck my ass, motherfucker". 143 00:08:19,541 --> 00:08:21,375 [THEY LAUGH] 144 00:08:24,750 --> 00:08:26,416 [MARY]: A lot of people didn't like you calling 'em 145 00:08:26,500 --> 00:08:28,291 "motherfucker", they would beat you up. 146 00:08:28,833 --> 00:08:29,791 A lot of men. 147 00:08:29,875 --> 00:08:31,375 [LINDA]: Right there on the street? 148 00:08:31,833 --> 00:08:33,041 [MARY]: Yeah. 149 00:08:33,291 --> 00:08:35,791 [LINDA]: Think she liked it? - [MARY]: She must'a liked it. 150 00:08:36,375 --> 00:08:38,708 But the fellas that liked her, she didn't dig them. 151 00:08:42,291 --> 00:08:43,958 [LINDA]: Let me ask you something, John... 152 00:08:44,041 --> 00:08:45,041 [JOHN FAGAN]: Go ahead. 153 00:08:45,416 --> 00:08:48,083 Did Billie... did she turn tricks? 154 00:08:48,666 --> 00:08:50,083 [JOHN FAGAN]: Sure, of course. 155 00:08:50,166 --> 00:08:52,333 During them times, you had to survive 156 00:08:52,708 --> 00:08:54,333 and she had to survive. 157 00:08:54,583 --> 00:08:56,375 [LINDA]: Was she younger than most girls? 158 00:08:57,083 --> 00:09:00,041 [JOHN FAGAN]: No. Girls start young, some of 'em, you know. 159 00:09:00,500 --> 00:09:02,208 She wasn't like a slut. 160 00:09:02,291 --> 00:09:05,708 No, no, no, no... she just lived fast. 161 00:09:06,125 --> 00:09:09,625 [MUSIC: "Symphony In Black" by Duke Ellington] 162 00:09:11,083 --> 00:09:15,541 ♪ The saddest tale on land or sea ♪ 163 00:09:15,875 --> 00:09:20,500 ♪ Was when my man walked out on me ♪ 164 00:09:24,541 --> 00:09:26,291 [LINDA]: 165 00:09:26,541 --> 00:09:29,000 [SKINNY DAVENPORT]: 166 00:09:29,875 --> 00:09:31,375 [LINDA]: 167 00:09:31,916 --> 00:09:34,250 [SKINNY AND LINDA]: 168 00:09:35,833 --> 00:09:39,291 [LINDA AND SKINNY]: 169 00:09:41,208 --> 00:09:44,208 [LINDA]: 170 00:09:44,958 --> 00:09:46,666 [SKINNY DAVENPORT] 171 00:09:47,208 --> 00:09:48,666 [LINDA]: Yeah? - [SKINNY LAUGHS] 172 00:09:53,375 --> 00:09:54,791 [LINDA]: 173 00:09:54,958 --> 00:09:58,500 [SKINNY DAVENPORT]: 174 00:10:00,208 --> 00:10:01,666 [HE LAUGHS] - [LINDA]: Why? 175 00:10:02,166 --> 00:10:05,000 [SKINNY DAVENPORT]: 176 00:10:05,625 --> 00:10:10,000 ♪ My man's gone, I feel forlorn ♪ 177 00:10:10,625 --> 00:10:15,833 ♪ I've got those "lost my man" blues ♪ 178 00:10:16,291 --> 00:10:18,875 ♪ He didn't treat me fair ♪ 179 00:10:19,166 --> 00:10:21,958 ♪ It's more than I can bear ♪ 180 00:10:22,166 --> 00:10:23,458 ♪ I've got those... ♪ - [LINDA]: Did you ever hear 181 00:10:23,541 --> 00:10:24,708 her sing? - [SKINNY]: Yeah. 182 00:10:24,791 --> 00:10:26,500 [LINDA]: When she was a kid? - Yeah, yeah. 183 00:10:26,875 --> 00:10:28,208 She used to sing every night. 184 00:10:28,291 --> 00:10:30,750 ♪ I've got those "lost my man... ♪ 185 00:10:30,833 --> 00:10:34,875 ♪ ...can't get him back again" blues ♪ 186 00:10:36,875 --> 00:10:43,291 [BILLIE]: 187 00:10:49,583 --> 00:10:51,500 [INTERVIEWER]: Well, now wait a minute, it's quite a jump 188 00:10:51,583 --> 00:10:53,583 from Baltimore to New York... - [BILLIE]: Listen... 189 00:10:53,666 --> 00:10:55,416 Well, it was a jump. 190 00:10:55,500 --> 00:10:57,666 [INTERVIEWER]: So, you were 15 years old then, weren't ya? 191 00:10:57,750 --> 00:10:59,083 [BILLIE]: No, I was 14. 192 00:10:59,166 --> 00:11:00,541 [INTERVIEWER]: I beg your pardon. 193 00:11:05,333 --> 00:11:07,208 [TRAIN CARRIAGES RATTLE] 194 00:11:09,708 --> 00:11:11,833 [LINDA, VO]: My first encounter with Billie Holiday 195 00:11:11,916 --> 00:11:12,958 was as a listener... 196 00:11:14,916 --> 00:11:16,583 not as a biographer or critic. 197 00:11:18,625 --> 00:11:20,750 Age 14, I happened to spot an album... 198 00:11:21,583 --> 00:11:23,375 "The Essential Billie Holiday" 199 00:11:24,250 --> 00:11:26,333 and curiously listened to the voice. 200 00:11:27,541 --> 00:11:28,833 A strange voice... 201 00:11:29,500 --> 00:11:31,416 that was more real and true... 202 00:11:31,541 --> 00:11:33,416 than anything I'd ever heard before. 203 00:11:35,083 --> 00:11:37,791 It told of experiences so deeply felt... 204 00:11:38,291 --> 00:11:40,583 wailed huskily from some netherworld... 205 00:11:41,416 --> 00:11:42,750 that I had no choice... 206 00:11:43,375 --> 00:11:46,291 I had to listen to where that voice was coming from. 207 00:12:02,958 --> 00:12:04,583 [MYRA LUFTMAN]: Linda was my big sister 208 00:12:04,750 --> 00:12:07,250 and she was my protector, and, uh... 209 00:12:07,333 --> 00:12:08,375 she was my best friend. 210 00:12:13,458 --> 00:12:16,458 We grew up in the Bronx Borough of New York. 211 00:12:18,166 --> 00:12:20,416 My father was a labour union organiser. 212 00:12:22,666 --> 00:12:25,875 Our family was Jewish but non-religious. 213 00:12:28,500 --> 00:12:30,583 Linda was a public high school teacher 214 00:12:30,666 --> 00:12:33,541 but she had been doing interviews on women 215 00:12:33,833 --> 00:12:35,458 and women's rights 216 00:12:35,541 --> 00:12:37,958 as a journalist for Paris Review 217 00:12:38,041 --> 00:12:40,666 for the New York Times Sunday magazine section. 218 00:12:42,750 --> 00:12:45,500 That's when she decided to start writing a biography 219 00:12:45,583 --> 00:12:47,041 on Billie Holiday. 220 00:12:48,416 --> 00:12:51,083 Even though they came from totally 221 00:12:51,291 --> 00:12:52,541 different backgrounds... 222 00:12:53,041 --> 00:12:54,958 I think she identified with Billie. 223 00:12:56,125 --> 00:12:59,083 I think she felt the pain of someone's struggles. 224 00:13:00,875 --> 00:13:03,041 She did not like seeing her as a victim 225 00:13:03,791 --> 00:13:06,291 which I think is the way she had been portrayed. 226 00:13:11,375 --> 00:13:14,166 [BIG BAND MUSIC PLAYS] 227 00:13:24,208 --> 00:13:26,000 [DETROIT RED]: 228 00:14:09,291 --> 00:14:11,041 [LINDA]: 229 00:14:11,208 --> 00:14:16,750 [DETROIT RED] 230 00:14:17,791 --> 00:14:21,666 [LINDA]: 231 00:14:21,833 --> 00:14:23,875 [DETROIT RED]: 232 00:14:27,916 --> 00:14:29,500 [LINDA]: 233 00:14:30,041 --> 00:14:34,500 [DETROIT RED]: 234 00:14:39,458 --> 00:14:41,750 Hello Pigmeat, how are you? 235 00:14:41,833 --> 00:14:43,708 Why hello, Mabel. 236 00:14:43,875 --> 00:14:45,125 It's good to see you. 237 00:14:45,208 --> 00:14:47,125 Yeah, where in the world is you been? 238 00:14:47,208 --> 00:14:48,875 [PIGMEAT MARKHAM]: Someone told me about this girl 239 00:14:48,958 --> 00:14:50,541 who could sing so beautiful. 240 00:14:51,166 --> 00:14:53,458 And I went by to see her and hear her. 241 00:14:53,958 --> 00:14:55,750 That's when I discovered her... 242 00:14:56,875 --> 00:15:00,208 a week or two after she started coming the Apollo Theatre. 243 00:15:00,875 --> 00:15:03,000 And that's where she made her stage appearance 244 00:15:03,083 --> 00:15:04,416 first time in her life. 245 00:15:05,750 --> 00:15:07,500 [LINDA]: Why'd you think she was so nervous? 246 00:15:07,583 --> 00:15:09,291 [PIGMEAT]: Well, she was stage-frightened 247 00:15:09,375 --> 00:15:11,041 she'd never been on a stage before. 248 00:15:11,708 --> 00:15:14,541 And a lot of people can sing in them little small places 249 00:15:14,625 --> 00:15:17,000 with eight, ten, 15, 45 people... 250 00:15:17,750 --> 00:15:20,083 and then when you put 'em in front of a big audience... 251 00:15:20,500 --> 00:15:23,583 a thousand, two thousand people, they just freeze up. 252 00:15:42,458 --> 00:15:45,041 [LINDA LAUGHS] It must've been something! 253 00:15:57,083 --> 00:15:58,750 [INTERVIEWER]: Tell us something, Billie 254 00:15:58,833 --> 00:16:00,458 about the background that, uh... 255 00:16:00,541 --> 00:16:02,458 brought about your interest in jazz. 256 00:16:02,541 --> 00:16:08,416 [BILLIE]: 257 00:16:10,875 --> 00:16:13,083 ♪ My man... ♪ 258 00:16:23,000 --> 00:16:24,333 [INTERVIEWER]: And that was it? 259 00:16:24,791 --> 00:16:27,583 [BILLIE]: 260 00:16:34,083 --> 00:16:35,791 [JOHN HAMMOND]: Well, I was the first white guy 261 00:16:35,875 --> 00:16:37,083 who ever heard Billie, you know. 262 00:16:37,166 --> 00:16:39,541 I was the first one who introduced her around. 263 00:16:40,541 --> 00:16:43,250 About the eighth stoop up here 264 00:16:43,375 --> 00:16:46,208 is where I first heard Billie Holiday. 265 00:16:46,291 --> 00:16:49,750 It says laundry there, see? And that's the place 266 00:16:49,833 --> 00:16:52,166 where Billie Holiday made her debut 267 00:16:52,250 --> 00:16:53,791 as far as I know in New York 268 00:16:53,875 --> 00:16:57,333 in about February of 1933. 269 00:16:58,541 --> 00:17:01,291 What did you hear that said to you 270 00:17:01,375 --> 00:17:03,625 "I have to let the rest of the world know about this?" 271 00:17:03,916 --> 00:17:07,458 I heard a singer who was an improvising horn player. 272 00:17:07,541 --> 00:17:09,250 Horn player? - Yeah, well, that's how... 273 00:17:09,333 --> 00:17:10,333 that's how she sounded. 274 00:17:10,458 --> 00:17:11,708 Any specific horn player? 275 00:17:11,791 --> 00:17:12,958 Well, I think she liked Louis... 276 00:17:13,041 --> 00:17:15,000 Louis Armstrong. - Louis Armstrong, I'm sorry. 277 00:17:15,083 --> 00:17:17,000 I need to add that last-- That's quite alright. 278 00:17:17,291 --> 00:17:20,291 And I knew, you know, that these two would... 279 00:17:20,708 --> 00:17:22,083 would find, uh... 280 00:17:22,166 --> 00:17:24,666 would make music together that was unprecedented. 281 00:17:24,708 --> 00:17:25,625 And it was. 282 00:17:25,708 --> 00:17:28,041 [MUSIC: "The Blues Are Brewin'" by B. Holiday and L. Armstrong] 283 00:17:28,125 --> 00:17:31,083 ♪ When the moon's kinda dreamy ♪ 284 00:17:31,833 --> 00:17:34,333 ♪ Starry-eyed and dreamy ♪ 285 00:17:35,166 --> 00:17:38,708 ♪ And nights are luscious and long ♪ 286 00:17:40,916 --> 00:17:44,041 ♪ If you're kinda lonely ♪ 287 00:17:44,833 --> 00:17:47,208 ♪ And all by your own-ly ♪ 288 00:17:48,083 --> 00:17:52,583 ♪ Then nothin' but the blues are brewin' ♪ 289 00:17:53,041 --> 00:17:56,375 ♪ The blues are brewin' ♪ 290 00:17:59,500 --> 00:18:02,750 ♪ When the wind through the window... ♪ 291 00:18:03,041 --> 00:18:08,416 [JOHN HAMMOND]: 292 00:18:13,166 --> 00:18:16,500 ♪ If love goes a-thirstin' ♪ 293 00:18:17,250 --> 00:18:19,666 ♪ Till you feel like burstin' ♪ 294 00:18:20,666 --> 00:18:24,875 ♪ Then nothin' but the blues are brewin' ♪ 295 00:18:25,500 --> 00:18:29,333 ♪ The blues are brewin' ♪ 296 00:18:29,833 --> 00:18:32,291 [JOHN HAMMOND]: I persuaded the American Record Company 297 00:18:32,375 --> 00:18:35,333 that they should record the hits of the day 298 00:18:35,750 --> 00:18:39,041 with the wonderful girl singer, and hit the jukebox trade. 299 00:18:40,041 --> 00:18:41,500 I says "It costs so little". 300 00:18:41,916 --> 00:18:43,416 We would do these records, you see 301 00:18:43,500 --> 00:18:46,208 for less than $300 a session. 302 00:18:48,291 --> 00:18:51,041 ♪ Suppose you want somebody ♪ 303 00:18:51,708 --> 00:18:54,166 ♪ But you ain't got nobody ♪ 304 00:18:54,958 --> 00:18:59,333 ♪ You only got a gleam in your eye ♪ 305 00:19:00,458 --> 00:19:03,583 [JOHN HAMMOND]: 306 00:19:15,625 --> 00:19:17,750 [LINDA]: 307 00:19:19,250 --> 00:19:21,041 [JOHN HAMMOND]: 308 00:19:26,708 --> 00:19:29,416 If you went to Harlem just for music and no sex 309 00:19:30,041 --> 00:19:31,708 it was the strangest thing in the world. 310 00:19:32,541 --> 00:19:34,041 And I went just for music. 311 00:19:34,375 --> 00:19:35,250 [CASSETTE CLICKS] 312 00:19:49,125 --> 00:19:50,958 [RUBY DAVIES]: First time I met Billie was... 313 00:19:51,416 --> 00:19:53,583 in a place behind the Apollo Theatre 314 00:19:54,208 --> 00:19:56,583 and she asked me to take her home 315 00:19:57,291 --> 00:19:59,666 because some of her friends that were there 316 00:19:59,958 --> 00:20:02,000 she says, "I don't want them to take me home". 317 00:20:05,375 --> 00:20:09,250 The apartment was in Harlem, that was considered a ghetto. 318 00:20:10,541 --> 00:20:13,083 When we got there, she asked me to stay with us. 319 00:20:13,750 --> 00:20:16,416 I ended up staying, oh, about six months. 320 00:20:18,750 --> 00:20:20,875 Her mother used to tell me about her 321 00:20:20,958 --> 00:20:22,500 when she was a little girl. 322 00:20:23,458 --> 00:20:24,791 [LINDA]: What would she tell you? 323 00:20:24,875 --> 00:20:28,208 [RUBY]: That she was still in love with Billie's father. 324 00:20:29,375 --> 00:20:31,916 And a lot of times when she used to talk about it, she'd cry. 325 00:20:34,666 --> 00:20:38,000 [LINDA]: Somebody told me that Billie used to go with girls. 326 00:20:38,083 --> 00:20:39,583 Now, is there any truth in that? 327 00:20:39,666 --> 00:20:40,916 [RUBY DAVIES]: Oh, of course! 328 00:20:41,666 --> 00:20:43,625 Her nickname among the men... 329 00:20:44,041 --> 00:20:46,666 they called her Mister Billie Holiday 330 00:20:46,750 --> 00:20:49,583 because she was seldom seen with fellas. 331 00:20:50,666 --> 00:20:52,625 And I will always believe 332 00:20:52,916 --> 00:20:54,750 that her mother was the cause of it 333 00:20:55,083 --> 00:20:58,541 cos she never wanted Billie to get close with any fellas. 334 00:20:59,666 --> 00:21:01,458 She would tell her they're no good. 335 00:21:02,208 --> 00:21:05,416 "I heard this about him" and "I heard that about him"... 336 00:21:06,000 --> 00:21:08,291 Her mother pushed that in her mind to be careful 337 00:21:08,750 --> 00:21:10,291 cos they'll break your heart. 338 00:21:11,916 --> 00:21:13,458 Just like Billie's father. 339 00:21:17,416 --> 00:21:19,666 [LINDA]: 340 00:21:20,416 --> 00:21:24,416 [SANDY WILLIAMS]: 341 00:21:24,791 --> 00:21:26,458 [LINDA]: 342 00:21:26,708 --> 00:21:28,416 [SANDY]: 343 00:21:32,000 --> 00:21:35,125 [LINDA AND SANDY]: 344 00:21:37,708 --> 00:21:39,166 [LINDA]: 345 00:21:39,708 --> 00:21:41,333 [SANDY]: 346 00:21:44,750 --> 00:21:46,458 [LINDA]: 347 00:21:48,125 --> 00:21:49,791 [SANDY]: 348 00:21:54,541 --> 00:21:58,000 [IRENE KITCHINGS]: 349 00:22:10,583 --> 00:22:11,666 [LINDA]: What was he like? 350 00:22:12,625 --> 00:22:16,750 [IRENE]: 351 00:22:18,291 --> 00:22:22,250 [LINDA AND IRENE]: 352 00:22:28,458 --> 00:22:33,958 [LINDA AND IRENE]: 353 00:22:55,250 --> 00:22:56,916 [STEAM HISSES] 354 00:22:58,208 --> 00:23:00,208 [LINDA, VO]: Whether the men who Billie went with 355 00:23:00,291 --> 00:23:02,708 treated her well or not... 356 00:23:03,416 --> 00:23:05,583 she always chose them for a reason. 357 00:23:07,750 --> 00:23:10,708 They played for her, they protected her... 358 00:23:11,750 --> 00:23:14,666 and in the man's world of the night club... 359 00:23:15,541 --> 00:23:18,708 they allowed her to do the one thing that mattered... 360 00:23:19,458 --> 00:23:20,750 which was to sing. 361 00:23:22,541 --> 00:23:25,500 Music didn't bring Billie to Harlem... 362 00:23:26,166 --> 00:23:29,541 but it was her voice that would allow her to escape. 363 00:23:33,416 --> 00:23:34,625 Attention everybody! 364 00:23:36,000 --> 00:23:38,333 ♪ Now, here's a boogie-woogie, solid beat ♪ 365 00:23:38,750 --> 00:23:40,958 ♪ Come on you dancers, on your feet ♪ 366 00:23:41,500 --> 00:23:43,791 ♪ The winners get a prize as you all know ♪ 367 00:23:44,000 --> 00:23:46,458 ♪ And we pick 'em by the speed and the class they show ♪ 368 00:23:46,541 --> 00:23:47,750 ♪ Let's go! ♪ 369 00:23:50,083 --> 00:23:51,500 [INTERVIEWER]: Billie, I'm just wondering 370 00:23:51,583 --> 00:23:54,083 if you might tell us how people began to call you "Lady Day". 371 00:23:55,291 --> 00:23:59,291 [BILLIE]: 372 00:24:27,208 --> 00:24:29,041 [HARRY "SWEETS" EDISON]: 373 00:24:31,375 --> 00:24:32,791 [LINDA]: 374 00:24:33,416 --> 00:24:36,208 [HARRY "SWEETS" EDISON]: 375 00:24:43,583 --> 00:24:45,458 [LINDA]: 376 00:24:46,083 --> 00:24:50,958 [HARRY "SWEETS" EDISON]: 377 00:25:01,166 --> 00:25:03,041 [LINDA]: 378 00:25:03,500 --> 00:25:06,333 [HARRY "SWEETS" EDISON]: 379 00:25:13,958 --> 00:25:16,291 [LINDA]: 380 00:25:16,541 --> 00:25:19,833 [HARRY "SWEETS" EDISON]: 381 00:25:20,125 --> 00:25:22,958 [LINDA AND HARRY]: 382 00:25:40,416 --> 00:25:41,916 [COUNT BASIE]: What would be a good question 383 00:25:42,000 --> 00:25:43,000 for you to ask me... 384 00:25:43,083 --> 00:25:44,916 [LINDA]: You? - [COUNT BASIE]: About Billie? 385 00:25:46,041 --> 00:25:48,291 [LINDA]: You said that you used to alternate 386 00:25:48,375 --> 00:25:51,625 riff-raff joints, and then you'd play some big white hotel. 387 00:25:51,708 --> 00:25:54,708 Go from one extreme to the other. Is that true? 388 00:25:55,583 --> 00:25:58,541 [COUNT BASIE]: Well, I don't call no place a riff-raff 389 00:25:58,625 --> 00:25:59,791 that pays me. 390 00:26:01,208 --> 00:26:03,125 [LINDA]: She said you weren't your own boss... 391 00:26:03,708 --> 00:26:05,166 that you had too many managers. 392 00:26:05,708 --> 00:26:07,625 [COUNT BASIE CHUCKLES] - [LINDA]: It's true? 393 00:26:08,125 --> 00:26:13,166 [COUNT BASIE]: 394 00:26:13,541 --> 00:26:20,750 [LINDA]: 395 00:26:21,416 --> 00:26:25,833 [COUNT BASIE]: 396 00:26:26,166 --> 00:26:28,375 [LINDA]: 397 00:26:28,541 --> 00:26:30,833 [COUNT BASIE]: 398 00:26:35,000 --> 00:26:35,916 [LINDA]: Both. 399 00:26:36,166 --> 00:26:38,166 I can't write about Billie Holiday with your band 400 00:26:38,250 --> 00:26:39,833 if I'm not gonna talk about your band. 401 00:26:39,916 --> 00:26:43,583 [THEY LAUGH] - [LINDA]: Am I? 402 00:26:45,208 --> 00:26:46,375 Can I? 403 00:26:46,916 --> 00:26:48,125 [CASSETTE CLICKS] 404 00:26:49,083 --> 00:26:51,666 [JO JONES]: My name is Jonathan David Samuel Jones 405 00:26:51,791 --> 00:26:53,708 professional name Jo, J.O. 406 00:26:54,166 --> 00:26:56,125 And everybody professes to know her... 407 00:26:56,583 --> 00:26:58,375 they knew nothing about her. 408 00:26:58,708 --> 00:27:01,500 All that they knew was what was in it for them. 409 00:27:03,708 --> 00:27:06,250 [LINDA]: What happened with her and Count Basie? 410 00:27:06,333 --> 00:27:07,666 I mean, why did that-- 411 00:27:07,750 --> 00:27:09,125 [JO JONES]: Count Basie? 412 00:27:09,208 --> 00:27:10,666 Can't you leave Count Basie alone? 413 00:27:10,750 --> 00:27:13,000 That's no problem. That was no problem. 414 00:27:13,958 --> 00:27:15,083 That was no problem. 415 00:27:15,375 --> 00:27:17,083 [LINDA]: Well, why did she leave the band? 416 00:27:17,875 --> 00:27:20,041 [JO JONES]: She didn't leave the band, she was fired! 417 00:27:20,166 --> 00:27:21,166 [LINDA]: Who fired her? 418 00:27:21,250 --> 00:27:22,166 [JO JONES]: John Hammond! 419 00:27:23,041 --> 00:27:25,958 [LINDA]: John Hammond fired her? Why? 420 00:27:26,916 --> 00:27:28,625 [JO JONES]: That's a big question, if you can answer that 421 00:27:28,708 --> 00:27:30,083 they wouldn't have the UN. 422 00:27:32,541 --> 00:27:35,583 [LINDA]: About Basie, um, why did Billie leave the band? 423 00:27:35,916 --> 00:27:38,000 [JOHN HAMMOND]: Well, you see, here's the thing... 424 00:27:38,875 --> 00:27:41,916 there was a real problem with Billie and Basie. 425 00:27:42,833 --> 00:27:45,625 She weren't making enough money, simple as that 426 00:27:45,791 --> 00:27:48,000 and this is really one of the principal reasons 427 00:27:48,083 --> 00:27:49,291 why she left the band. 428 00:27:49,833 --> 00:27:51,666 [LINDA]: How much was she getting paid then? 429 00:27:51,750 --> 00:27:53,541 [JOHN HAMMOND]: I think 100 and a quarter a week 430 00:27:53,625 --> 00:27:55,125 something like that, at the most! 431 00:27:56,166 --> 00:27:57,125 [LINDA]: She quit? 432 00:27:57,250 --> 00:27:58,833 [JOHN HAMMOND]: Oh sure, sure. 433 00:27:59,958 --> 00:28:02,333 [JO JONES]: John Hammond wanted her to sing the blues. 434 00:28:02,416 --> 00:28:05,625 So, since she wouldn't sing the blues, he fired her. 435 00:28:07,583 --> 00:28:09,041 [LINDA]: How can I verify it? 436 00:28:10,125 --> 00:28:13,041 [JO JONES] His number's 0803 4173. 437 00:28:13,125 --> 00:28:14,500 Call him up and I'll tell him 438 00:28:14,583 --> 00:28:16,250 and I'll give him another heart attack. 439 00:28:17,125 --> 00:28:18,125 Call him. 440 00:28:18,500 --> 00:28:20,083 [LINDA]: I'm... I'm not... - Call him! 441 00:28:20,291 --> 00:28:22,625 I'm not gonna call him now. - [JO JONES]: Call him! 442 00:28:22,708 --> 00:28:25,041 [LINDA]: Listen, I'm gonna call him, I'm gonna to ask him. 443 00:28:25,125 --> 00:28:26,625 No, call him! - You know I'm not gonna 444 00:28:26,708 --> 00:28:27,791 get through to him. 445 00:28:27,875 --> 00:28:29,083 [CASSETTE CLUNKS] 446 00:28:29,666 --> 00:28:31,208 [LINDA]: I guess you've heard by now 447 00:28:31,291 --> 00:28:33,208 that Jo Jones said that you fired her. 448 00:28:33,291 --> 00:28:34,750 [JOHN HAMMOND]: Oh, absolute lie. 449 00:28:35,458 --> 00:28:36,458 Absolute lie. 450 00:28:36,500 --> 00:28:38,500 [LINDA]: ...because she wouldn't sing the blues. 451 00:28:39,041 --> 00:28:41,375 [JOHN HAMMOND]: How can Jo say a thing like that? 452 00:28:41,958 --> 00:28:43,625 Did you talk to Jo? - [LINDA]: Yeah. 453 00:28:44,125 --> 00:28:46,500 Jo said I...? Oh, Jo's out of his mind. 454 00:28:47,333 --> 00:28:48,916 [JO JONES]: He's a garbage-mouth liar! 455 00:28:49,000 --> 00:28:50,250 [LINDA]: Why didn't... would... 456 00:28:50,333 --> 00:28:52,166 [JO JONES]: He fired her because he wanted her to sing the blues! 457 00:28:52,250 --> 00:28:53,625 He wanted her to be a coloured mammy! 458 00:28:54,333 --> 00:28:55,375 Didn't I tell you 459 00:28:55,458 --> 00:28:57,291 not to let me catch you at that piano again? 460 00:28:57,750 --> 00:29:00,208 I'm sorry, Mam. If I'd have heard you coming 461 00:29:00,291 --> 00:29:02,041 I wouldn't have let you catch me. 462 00:29:02,125 --> 00:29:04,041 Well, let me fix you a good hot tub. 463 00:29:04,416 --> 00:29:06,458 [JO JONES]: I'm telling you this in front. 464 00:29:06,541 --> 00:29:09,666 He wanted her to just be yassa boss, yassa boss. 465 00:29:09,708 --> 00:29:11,875 And everybody talk about how he's the great white father. 466 00:29:11,916 --> 00:29:13,416 Don't give me that shit. 467 00:29:13,500 --> 00:29:15,666 But nobody got guts enough to tell the people that 468 00:29:15,750 --> 00:29:17,041 because they're afraid of him. 469 00:29:17,916 --> 00:29:20,375 [JOHN HAMMOND]: The problem with Jo is, you know, that... 470 00:29:20,458 --> 00:29:23,583 Jo is not always the most reliable, uh... 471 00:29:23,666 --> 00:29:26,041 I just saw Jo last week. I'll have to ask him 472 00:29:26,125 --> 00:29:29,458 how he could possibly have given you such a personal... 473 00:29:29,541 --> 00:29:31,125 [LINDA]: Sure, do indeed. 474 00:29:32,375 --> 00:29:34,416 [JO JONES]: It happened. That was a long time ago. 475 00:29:34,500 --> 00:29:35,750 How in the hell can I tell you 476 00:29:35,833 --> 00:29:37,666 what happened 40 years ago? - [LINDA]: How can I prove it? 477 00:29:37,791 --> 00:29:39,958 [JO JONES]: You don't have to prove it, it happened! 478 00:29:40,916 --> 00:29:43,208 [LINDA]: I believe you! - [JO JONES]: No, it happened! 479 00:29:43,291 --> 00:29:44,375 [LINDA]: OK! 480 00:29:45,041 --> 00:29:46,541 But when I put something in print... 481 00:29:46,625 --> 00:29:48,625 [JO JONES] I don't give a damn. Put it in print and quote me. 482 00:29:48,708 --> 00:29:49,750 It happened. 483 00:29:49,833 --> 00:29:52,208 So don't you ask if you're interviewing me 484 00:29:52,291 --> 00:29:54,333 and when I tell you something, you print it! 485 00:29:55,666 --> 00:29:57,708 Are you interviewing me or am I interviewing you? 486 00:29:58,916 --> 00:30:00,416 Where were you 30 years ago? 487 00:30:01,000 --> 00:30:02,875 [LINDA]: 488 00:30:12,250 --> 00:30:14,000 [MYRA LUFTMAN]: Linda was very conscious 489 00:30:14,083 --> 00:30:17,750 of being a white writer and writing about Billie. 490 00:30:18,541 --> 00:30:20,333 [JO JONES]: You don't know what we was going through. 491 00:30:20,416 --> 00:30:21,458 [LINDA]: What were you going through? 492 00:30:21,541 --> 00:30:23,041 [JO JONES]: We was going through hell. 493 00:30:23,875 --> 00:30:26,958 Miss Billie Holiday didn't have the privilege of using 494 00:30:27,041 --> 00:30:29,000 a toilet in a filling station. 495 00:30:30,416 --> 00:30:32,625 The boys at least could go out in the woods. 496 00:30:33,833 --> 00:30:35,208 You don't know anything about it 497 00:30:35,291 --> 00:30:37,666 because you've never had to subjugate yourself to it. 498 00:30:38,000 --> 00:30:39,041 Never! 499 00:30:40,333 --> 00:30:41,791 [MYRA LUFTMAN]: Most neighbourhoods 500 00:30:41,875 --> 00:30:44,791 where we were, were segregated by race. 501 00:30:46,500 --> 00:30:49,333 But we were very much aware of what was happening 502 00:30:49,416 --> 00:30:51,166 in the world, racially. 503 00:30:53,291 --> 00:30:56,083 Violations of people's civil rights. 504 00:30:58,291 --> 00:31:02,500 The horrors of dogs attacking black people in the South. 505 00:31:05,208 --> 00:31:08,708 The African-American struggle resonated with Linda. 506 00:31:10,916 --> 00:31:13,333 And it was always an outrage to Linda 507 00:31:13,416 --> 00:31:15,291 that people walked in the front door 508 00:31:15,375 --> 00:31:16,750 who were coming to see her 509 00:31:17,125 --> 00:31:20,500 but Billie Holiday had to walk through the kitchen to perform. 510 00:31:26,625 --> 00:31:28,333 [BIG BAND PLAYS] 511 00:31:28,416 --> 00:31:30,458 [INTERVIEWER]: This is no secret, of course 512 00:31:30,500 --> 00:31:33,125 that wherever musicians gather and talk about singers 513 00:31:33,208 --> 00:31:35,916 they generally elect you as their favourite. 514 00:31:36,250 --> 00:31:37,750 Now, who is your favourite? 515 00:31:39,958 --> 00:31:43,541 [BILLIE]: 516 00:31:44,000 --> 00:31:46,583 [MUSIC: "Prisoner Of Love" by Billy Eckstine] 517 00:31:46,916 --> 00:31:53,000 ♪ Alone, from night to night, you'll find me ♪ 518 00:31:53,791 --> 00:31:55,708 [LINDA]: Jo Jones told me that, uh... 519 00:31:55,791 --> 00:31:57,791 Hammond fired Billie from the Basie Band 520 00:31:57,875 --> 00:31:59,500 because she wouldn't sing the blues. 521 00:31:59,583 --> 00:32:00,458 Is that the truth? 522 00:32:00,541 --> 00:32:01,750 [BILLY ECKSTINE]: It's probably... sure. 523 00:32:01,833 --> 00:32:03,375 [LINDA]: Could be? She never told you? 524 00:32:03,458 --> 00:32:05,458 [BILLY ECKSTINE]: No, she never told me, but... 525 00:32:05,541 --> 00:32:08,333 I wanna be known as a singer who can sing the ballad 526 00:32:08,416 --> 00:32:10,333 who can sing up-tempo things. 527 00:32:10,708 --> 00:32:12,958 Don't tell me I'm only a blues singer 528 00:32:13,041 --> 00:32:14,958 that that's I all I can do is the blues. 529 00:32:15,041 --> 00:32:17,125 [LINDA]: And that's what-- - That's what they did! 530 00:32:17,208 --> 00:32:18,875 [LINDA]: Did you two ever talk about this? 531 00:32:18,916 --> 00:32:20,458 [BILLY ECKSTINE]: We would've had to. 532 00:32:21,125 --> 00:32:23,750 See, now, you've got the misconception 533 00:32:23,833 --> 00:32:25,791 that black is the blues. 534 00:32:25,875 --> 00:32:26,875 [BILLY ECKSTINE]: Sure. 535 00:32:28,125 --> 00:32:30,791 [LINDA]: It seems as if the people who were running 536 00:32:30,875 --> 00:32:32,208 the recordings were white... 537 00:32:32,916 --> 00:32:35,000 I mean the powers, the agents... 538 00:32:35,833 --> 00:32:38,416 let's say 7/8ths of the musicians were black. 539 00:32:40,166 --> 00:32:42,875 [BILLY ECKSTINE]: You see what people do to suppress you... 540 00:32:43,500 --> 00:32:46,583 the frustration of what connected with black performers. 541 00:32:48,041 --> 00:32:51,083 The difference in being, quote, a "black star" 542 00:32:51,166 --> 00:32:53,458 in relationship to it being a star. 543 00:32:55,875 --> 00:32:57,625 Billie Holiday, she's a black singer. 544 00:32:57,708 --> 00:33:00,041 Billy Eckstine, "Oh, you mean the black singer". 545 00:33:00,125 --> 00:33:02,625 And not Peggy Lee, she's a "Slav singer" 546 00:33:02,958 --> 00:33:05,291 or Barbara Streisand, she's a "Jewish singer". 547 00:33:05,416 --> 00:33:07,166 Not that, you don't get that. 548 00:33:08,333 --> 00:33:10,250 Get a load of the critics for God's sake 549 00:33:10,333 --> 00:33:14,500 the people who judge our music as being good or bad... 550 00:33:15,041 --> 00:33:16,666 there isn't a black critic. 551 00:33:17,041 --> 00:33:19,583 There was never a black critic in swing music. 552 00:33:19,666 --> 00:33:20,583 [LINDA]: Why? 553 00:33:20,666 --> 00:33:22,833 Why? Because of the power structure is such 554 00:33:22,916 --> 00:33:24,583 that you never got a chance. 555 00:33:24,625 --> 00:33:27,041 You have all white critics to decide 556 00:33:27,125 --> 00:33:29,000 whether or not you were good or bad. 557 00:33:30,000 --> 00:33:32,708 It's a pleasure, always, to welcome Mr Billy Eckstine. 558 00:33:32,791 --> 00:33:34,458 [APPLAUSE] 559 00:33:36,583 --> 00:33:38,041 Do black people get bugged... 560 00:33:38,125 --> 00:33:39,875 I think this is one of the most ironic things 561 00:33:39,958 --> 00:33:41,625 that a man named Paul Whiteman... 562 00:33:41,708 --> 00:33:43,125 was known as the "King of Jazz". 563 00:33:43,208 --> 00:33:45,333 [BILLY CHUCKLES] - Paul Whiteman was a white man. 564 00:33:45,416 --> 00:33:47,458 And, err, jazz is supposed to be-- 565 00:33:47,541 --> 00:33:49,166 Benny Goodman was the "King of Swing". 566 00:33:49,291 --> 00:33:51,541 [THEY LAUGH] - [STUDIO AUDIENCE LAUGHS] 567 00:33:52,208 --> 00:33:54,125 [SWING MUSIC PLAYS] 568 00:33:55,041 --> 00:33:56,916 [BILLY ECKSTINE]: We used to laugh at the fact 569 00:33:57,000 --> 00:33:59,583 that Benny Goodman was, uh, King of Swing. 570 00:34:00,375 --> 00:34:03,208 Paul Whiteman, King of Jazz, you know, these things 571 00:34:03,291 --> 00:34:05,583 they're absolutely comedic! 572 00:34:05,666 --> 00:34:07,250 [APPLAUSE] 573 00:34:08,041 --> 00:34:09,125 Look at Tom Jones. 574 00:34:10,833 --> 00:34:13,875 Tom Jones openly declares that he got his style 575 00:34:13,958 --> 00:34:16,041 from Otis Redding, from Jackie Wilson 576 00:34:16,125 --> 00:34:17,375 from Chuck Berry 577 00:34:17,458 --> 00:34:19,458 and that he started learning how to sing ballads 578 00:34:19,541 --> 00:34:20,916 by listening to my records. 579 00:34:21,666 --> 00:34:23,583 Now, all four of us that they named 580 00:34:23,666 --> 00:34:26,083 where's ours? Where's our compensation? 581 00:34:26,166 --> 00:34:27,291 Where's your payday? 582 00:34:27,916 --> 00:34:29,125 [AUDIENCE CHEERS] 583 00:34:40,791 --> 00:34:42,541 [INTERVIEWER]: The most remarkable things 584 00:34:42,625 --> 00:34:44,166 about jazz performers... 585 00:34:44,250 --> 00:34:46,541 you're way ahead of so many of the rest of us 586 00:34:46,583 --> 00:34:48,291 when it comes to de-segregation. 587 00:34:48,875 --> 00:34:52,125 Why is it that the colour thing has not ever really been 588 00:34:52,208 --> 00:34:54,166 that important with musicians? 589 00:34:54,583 --> 00:34:57,333 [BILLIE]: 590 00:35:01,208 --> 00:35:02,291 [CLARINET PLAYS] 591 00:35:02,375 --> 00:35:04,208 [INTERVIEWER]: Who was it that brought about the job 592 00:35:04,291 --> 00:35:06,500 you did with Artie Shaw in the old days, you remember? 593 00:35:06,583 --> 00:35:08,333 [BILLIE]: Well, Artie Shaw. 594 00:35:09,000 --> 00:35:10,875 He asked me, did I want a job? 595 00:35:11,291 --> 00:35:12,958 So, I says, "Yeah, I want a job". 596 00:35:13,916 --> 00:35:15,625 [INTERVIEWER]: And there was still a policy 597 00:35:15,708 --> 00:35:18,416 of no coloured singers being with a white organisation. 598 00:35:18,500 --> 00:35:19,916 Would you tell that story to us now? 599 00:35:20,125 --> 00:35:22,416 [BILLIE]: 600 00:35:22,583 --> 00:35:23,625 [CASSETTE CLICKS] 601 00:35:26,916 --> 00:35:30,000 [ARTIE SHAW]: I first met Billie back in around 1930. 602 00:35:31,458 --> 00:35:33,958 Billie was just a young kid then and I was almost as hungry 603 00:35:34,041 --> 00:35:35,166 in those days as she was. 604 00:35:35,875 --> 00:35:37,750 I remember saying to her one day, "Billie... 605 00:35:38,083 --> 00:35:39,166 if I ever make the grade 606 00:35:39,250 --> 00:35:41,458 and get a band of my own, you're gonna sing with it". 607 00:35:42,125 --> 00:35:43,750 And sure enough, that's what happened. 608 00:35:45,416 --> 00:35:49,250 [LINDA]: Do you remember when Billie first came to sing? 609 00:35:50,708 --> 00:35:52,375 [SID WEISS]: To the best of my knowledge 610 00:35:52,458 --> 00:35:55,333 it would've had to have been in either '36 or '37. 611 00:35:56,791 --> 00:35:59,208 We were a travelling group of minstrels. 612 00:35:59,500 --> 00:36:03,125 We got a bus and travelled 300 miles. 613 00:36:04,916 --> 00:36:07,541 And the way we carried it out was part of the life. 614 00:36:09,666 --> 00:36:11,208 [LINDA]: Did Billie have any trouble 615 00:36:11,291 --> 00:36:12,833 as a black singer with a white band? 616 00:36:12,916 --> 00:36:14,833 Yes, the normal kind of problems 617 00:36:14,916 --> 00:36:18,208 that would exist for any black person in those days. 618 00:36:21,666 --> 00:36:23,958 [MAE WEISS]: She was remarkable in that she was a trailblazer 619 00:36:24,041 --> 00:36:26,125 without really, you know-- - [LINDA]: Being conscious? 620 00:36:26,208 --> 00:36:28,541 [MAE WIESS]: Yeah, she wouldn't make a thing or anything. 621 00:36:30,208 --> 00:36:33,625 Today, it's hard to even describe the climate, you know 622 00:36:33,708 --> 00:36:35,916 like waitresses refusing to server her. 623 00:36:37,166 --> 00:36:41,625 After we would eat, she always ordered an extra hamburger 624 00:36:42,250 --> 00:36:43,666 and she'd put that in her purse... 625 00:36:44,541 --> 00:36:46,333 because she never knew 626 00:36:46,416 --> 00:36:48,416 when she would not be able to be served. 627 00:36:50,916 --> 00:36:52,708 [AL AVOLA]: The incidents concerning Billie 628 00:36:52,791 --> 00:36:55,500 were mostly concerning finding a place to stay 629 00:36:55,583 --> 00:36:57,250 wherever we went. - [LINDA]: Mm-hm. 630 00:36:58,083 --> 00:36:59,791 The usual racial problem. 631 00:37:00,833 --> 00:37:03,625 [LINDA]: 632 00:37:04,291 --> 00:37:06,333 [AL AVOLA]: We'd get in in the early morning hours 633 00:37:06,416 --> 00:37:09,458 you see, and many times she either slept in the car... 634 00:37:09,541 --> 00:37:11,166 the bus, or... wherever. 635 00:37:11,666 --> 00:37:13,083 [LINDA]: And where would you go? 636 00:37:14,000 --> 00:37:15,083 [AL AVOLA]: To a hotel. 637 00:37:15,166 --> 00:37:16,500 [LINDA]: How did she take it? 638 00:37:17,375 --> 00:37:21,833 [AL AVOLA]: 639 00:37:22,958 --> 00:37:24,458 [LINDA]: Do you remember an incident 640 00:37:24,541 --> 00:37:26,625 by any chance, when you first hit Kentucky 641 00:37:26,708 --> 00:37:29,625 and, uh, the sheriff, he came up to the band stand 642 00:37:29,708 --> 00:37:31,791 and said, "What's that black bitch going to sing?" 643 00:37:31,875 --> 00:37:33,583 And there was a brawl or something? 644 00:37:34,791 --> 00:37:37,750 [LES ROBINSON]: 645 00:38:10,166 --> 00:38:13,750 [LINDA]: 646 00:38:14,750 --> 00:38:17,875 [LES ROBINSON]: Well, he didn't fire her, she left on her own. 647 00:38:19,583 --> 00:38:20,750 She had a lot of pride. 648 00:38:22,791 --> 00:38:23,958 [LINDA]: How'd she take it? 649 00:38:24,250 --> 00:38:26,250 [AL AVOLA]: Uh... philosophically, I guess... 650 00:38:26,583 --> 00:38:29,958 in her vulgar language method. [HE CHUCKLES] 651 00:38:32,291 --> 00:38:34,875 If she had other words at her disposal 652 00:38:34,958 --> 00:38:36,291 she would've used them. 653 00:38:37,541 --> 00:38:39,875 The only words she could speak were those in the song. 654 00:38:41,166 --> 00:38:44,083 This beautiful soul she had that she could only do 655 00:38:44,166 --> 00:38:46,166 by expressing herself singing. 656 00:38:50,375 --> 00:38:53,000 [BILLIE]: And now a little tune written especially for me... 657 00:38:53,500 --> 00:38:54,791 "Strange Fruit". 658 00:38:55,291 --> 00:38:56,916 [MUSIC: "Strange Fruit" by Lewis Allen] 659 00:38:57,000 --> 00:38:58,625 [PIANO PLAYS] 660 00:39:12,875 --> 00:39:16,125 ♪ Southern trees ♪ 661 00:39:17,291 --> 00:39:22,625 ♪ Bear a strange fruit ♪ 662 00:39:25,166 --> 00:39:28,333 ♪ Blood on the leaves ♪ 663 00:39:30,250 --> 00:39:33,333 ♪ And blood at the root ♪ 664 00:39:35,166 --> 00:39:37,875 ♪ Black bodies swingin' ♪ 665 00:39:39,708 --> 00:39:42,750 ♪ In the southern breeze ♪ 666 00:39:44,333 --> 00:39:46,958 ♪ Strange fruit hangin' ♪ 667 00:39:48,583 --> 00:39:52,833 ♪ From the poplar trees ♪ 668 00:39:55,250 --> 00:39:59,166 [MILT GABLER]: Around '39, she actually was a Columbia artist 669 00:39:59,708 --> 00:40:02,750 and they gave me permission to record "Strange Fruit"... 670 00:40:04,000 --> 00:40:05,625 which they didn't want to record. 671 00:40:06,208 --> 00:40:07,208 [LINDA]: Why not? 672 00:40:07,625 --> 00:40:09,458 [MILT GABLER]: Because of the social content 673 00:40:09,541 --> 00:40:10,708 of it, I guess. 674 00:40:12,125 --> 00:40:16,208 And how unusual it was to do a protest song. 675 00:40:19,208 --> 00:40:23,125 That was the thing that made all the publicity and noise. 676 00:40:23,958 --> 00:40:26,208 ♪ Pastoral scene ♪ 677 00:40:27,708 --> 00:40:30,916 ♪ Of the gallant South ♪ 678 00:40:32,416 --> 00:40:36,208 ♪ The bulging eyes ♪ 679 00:40:37,375 --> 00:40:40,291 ♪ And the twisted mouth ♪ 680 00:40:41,875 --> 00:40:43,458 [BARNEY KESSELL]: It was actually a shocking 681 00:40:43,541 --> 00:40:44,458 piece of material. 682 00:40:45,208 --> 00:40:46,708 She would come close to breaking up 683 00:40:46,791 --> 00:40:48,500 when she was singing "Strange Fruit". 684 00:40:48,958 --> 00:40:51,000 [LINDA]: You can hear the crack in the voice, huh? 685 00:40:51,541 --> 00:40:53,625 [BARNEY KESSELL]: Yeah, yeah, also in the eyes. 686 00:40:53,708 --> 00:40:56,250 And almost a reflection of what she had had to do 687 00:40:56,333 --> 00:40:58,791 in her lifetime in order to make it. 688 00:41:00,625 --> 00:41:04,291 The fact that negroes did not have equal chances... 689 00:41:05,291 --> 00:41:07,375 this was something that she felt very deeply... 690 00:41:08,000 --> 00:41:10,125 and about the only way she could really 691 00:41:10,208 --> 00:41:11,750 crusade or bring these thoughts together 692 00:41:11,833 --> 00:41:13,666 would be to sing songs like that. 693 00:41:15,416 --> 00:41:18,416 ♪ Scent of magnolia ♪ 694 00:41:20,083 --> 00:41:23,208 ♪ Sweet and fresh ♪ 695 00:41:25,833 --> 00:41:29,916 ♪ Then the sudden smell ♪ 696 00:41:31,666 --> 00:41:35,958 ♪ Of burning flesh ♪ 697 00:41:38,375 --> 00:41:40,833 ♪ Here is a fruit ♪ 698 00:41:42,750 --> 00:41:46,250 ♪ For the crows to pluck ♪ 699 00:41:48,791 --> 00:41:51,916 ♪ For the rain to gather ♪ 700 00:41:55,041 --> 00:41:58,666 ♪ For the wind to suck ♪ 701 00:42:00,708 --> 00:42:04,125 ♪ For the sun to rot ♪ 702 00:42:06,041 --> 00:42:08,958 ♪ For the tree... ♪ 703 00:42:10,750 --> 00:42:18,125 ♪ ...to drop ♪ 704 00:42:19,875 --> 00:42:22,791 ♪ Here is a strange... ♪ 705 00:42:24,333 --> 00:42:26,791 ♪ ...and bitter... ♪ 706 00:42:29,541 --> 00:42:35,791 ♪ ...crop ♪ 707 00:42:43,291 --> 00:42:45,291 [LINDA]: Do you remember the first time she sang 708 00:42:45,375 --> 00:42:46,666 that song at Café Society? 709 00:42:46,750 --> 00:42:49,083 Sure, it's unforgettable. 710 00:42:49,166 --> 00:42:51,208 Every time she sang, it was unforgettable. 711 00:42:51,833 --> 00:42:54,666 [BILLIE'S VOICE ECHOES]: ♪ Scent of magnolia... ♪ 712 00:42:56,416 --> 00:42:59,208 ♪ Sweet and fresh ♪ 713 00:42:59,625 --> 00:43:02,208 [BARNEY JOSEPHSON]: Soon after the Time Magazine appeared 714 00:43:02,291 --> 00:43:03,708 and the caption read... 715 00:43:03,791 --> 00:43:06,583 "Most unusual song ever to be heard in a night club". 716 00:43:07,416 --> 00:43:11,375 [BILLIE'S VOICE ECHOES]: ♪ Of burning flesh ♪ 717 00:43:12,083 --> 00:43:13,916 [BARNEY JOSEPHSON]: When she sang "Strange Fruit" 718 00:43:14,000 --> 00:43:14,916 she never moved. 719 00:43:15,416 --> 00:43:16,750 Billie stood there... 720 00:43:17,458 --> 00:43:20,250 all service stopped at the bar, everywhere. 721 00:43:20,708 --> 00:43:22,750 [LINDA]: Can you remember any time where anybody 722 00:43:22,833 --> 00:43:25,083 might have caused any commotion? - [BARNEY]: Oh, yes. 723 00:43:25,583 --> 00:43:26,791 I had people walk out. 724 00:43:26,875 --> 00:43:29,250 [LINDA]: These are white people? - [BARNEY]: White people. 725 00:43:29,375 --> 00:43:30,916 One party after another... 726 00:43:31,541 --> 00:43:33,833 "We come to your nightclub to be entertained... 727 00:43:34,416 --> 00:43:36,083 and we don't call this entertainment". 728 00:43:39,583 --> 00:43:41,083 [CHARLES MINGUS]: "Strange Fruit"... 729 00:43:42,000 --> 00:43:43,916 What is that, man? 730 00:44:05,625 --> 00:44:09,791 The Treasury Department intends to pursue a relentless warfare 731 00:44:10,166 --> 00:44:13,833 against the despicable dope peddling vulture 732 00:44:13,916 --> 00:44:15,041 and public enemies. 733 00:44:15,416 --> 00:44:18,166 And we hope to place the drug addicts arrested 734 00:44:18,791 --> 00:44:20,541 under institutional care. 735 00:44:20,750 --> 00:44:22,125 [GATES SLAM] 736 00:44:26,166 --> 00:44:28,166 [LINDA, VO]: It was Billie's interpretation 737 00:44:28,250 --> 00:44:29,541 of "Strange Fruit" 738 00:44:30,208 --> 00:44:33,083 not the song itself that changed the direction 739 00:44:33,166 --> 00:44:34,375 of American music. 740 00:44:37,291 --> 00:44:40,958 But not everyone stood to applaud her primal howl 741 00:44:41,041 --> 00:44:43,458 against the bloody history of white America. 742 00:44:46,166 --> 00:44:48,291 And her refusal to stop singing it... 743 00:44:49,333 --> 00:44:51,958 would give vindication to those powerful men 744 00:44:52,875 --> 00:44:56,291 already circling the decadent world of jazz 745 00:44:56,583 --> 00:44:58,625 in search of a high-profile target 746 00:44:59,166 --> 00:45:01,125 to burnish their reputation. 747 00:45:03,083 --> 00:45:06,125 And now that Billie's star shone so brightly... 748 00:45:07,125 --> 00:45:10,583 she could not easily retreat back into the night. 749 00:45:11,166 --> 00:45:13,500 [MUSIC: "Fine and Mellow" by Billie Holiday] 750 00:45:16,625 --> 00:45:18,583 [JIMMY ROWLES]: I ought to get myself ready for this. 751 00:45:18,666 --> 00:45:20,541 You know, I'd better have a couple of drinks 752 00:45:20,625 --> 00:45:22,791 cos if gonna talk about her, I wanna feel good. 753 00:45:23,583 --> 00:45:27,208 She's something else, she was really something. 754 00:45:28,750 --> 00:45:30,375 [LINDA]: When did you first meet her? 755 00:45:30,791 --> 00:45:34,208 [JIMMY ROWLES]: I met her in 1942. 756 00:45:34,958 --> 00:45:37,333 I was just a kid, I was only, like, 20 years old. 757 00:45:38,791 --> 00:45:40,333 She used to call me in there, and... 758 00:45:40,416 --> 00:45:42,416 "You gotta write out the chords to this tune". 759 00:45:42,833 --> 00:45:44,625 [LINDA]: Where was this, in her dressing room? 760 00:45:44,666 --> 00:45:45,791 [JIMMY]: Yeah! 761 00:45:45,875 --> 00:45:47,125 And she'd stand there with nothing 762 00:45:47,208 --> 00:45:48,250 but a pair of shoes on. 763 00:45:48,791 --> 00:45:49,791 That was it! 764 00:45:51,083 --> 00:45:52,166 No clothes. 765 00:45:54,958 --> 00:45:57,166 ♪ My man don't love me ♪ 766 00:45:58,750 --> 00:46:01,666 ♪ He treats me oh so mean ♪ 767 00:46:05,833 --> 00:46:09,750 ♪ My man, he don't love me ♪ 768 00:46:11,166 --> 00:46:15,041 ♪ He treats me awful mean ♪ 769 00:46:19,000 --> 00:46:21,875 ♪ He's the lowest man ♪ 770 00:46:23,791 --> 00:46:27,166 ♪ That I've ever seen ♪ 771 00:46:28,083 --> 00:46:29,958 [JIMMY ROWLES]: Her boy was Lester Young... 772 00:46:31,291 --> 00:46:33,125 cos she was always happy 773 00:46:33,208 --> 00:46:35,791 when she knew Pres was playing for her. 774 00:46:36,291 --> 00:46:38,166 [SAX PLAYS] 775 00:46:40,875 --> 00:46:42,333 The way he played behind her... 776 00:46:43,166 --> 00:46:46,458 she was just like she was in her mother's arms. 777 00:46:50,916 --> 00:46:53,791 [BILLIE]: I liked Lester's feeling, you know. 778 00:46:54,250 --> 00:46:55,958 When he first started 779 00:46:56,041 --> 00:46:59,458 everyone felt his tone is too thin 780 00:47:00,166 --> 00:47:02,916 but I told him it doesn't matter because, you watch 781 00:47:03,000 --> 00:47:05,458 after a while, everybody's gonna to be copying you. 782 00:47:06,375 --> 00:47:08,625 ♪ He wears high-draped pants ♪ 783 00:47:10,958 --> 00:47:14,833 ♪ Stripes are really yellow ♪ 784 00:47:15,416 --> 00:47:17,083 [JIMMY ROWLES]: They had the funniest way 785 00:47:17,166 --> 00:47:18,416 of loving each other. 786 00:47:18,875 --> 00:47:21,750 It was brother and sister, but it was another thing. 787 00:47:21,958 --> 00:47:23,666 ♪ ...fine and mellow ♪ 788 00:47:24,208 --> 00:47:25,875 Anybody that ever knew him would tell you 789 00:47:25,958 --> 00:47:27,791 he's one of the strangest people on earth. 790 00:47:29,083 --> 00:47:31,333 He was like a visitor, really. 791 00:47:32,375 --> 00:47:35,333 And she was too, so you can figure the two of 'em together 792 00:47:35,416 --> 00:47:36,625 is pretty wild. 793 00:47:37,041 --> 00:47:38,583 That was the way it was, all the time. 794 00:47:40,250 --> 00:47:42,166 But everybody loves a wild woman. 795 00:47:42,500 --> 00:47:44,000 [JIMMY AND LINDA LAUGH] 796 00:47:46,083 --> 00:47:49,375 ♪ But you're so mean to me, baby ♪ 797 00:47:50,791 --> 00:47:54,416 ♪ I know you gonna drive me away ♪ 798 00:47:54,958 --> 00:47:56,750 [JIMMY]: She sang from her crotch. 799 00:47:58,291 --> 00:48:00,833 You bet she had the greatest crotch in life! 800 00:48:00,958 --> 00:48:02,208 [LINDA LAUGHS] 801 00:48:02,291 --> 00:48:05,125 [JIMMY]: And, now that I look back, I'm sorry I missed it. 802 00:48:05,208 --> 00:48:07,041 [HE LAUGHS] 803 00:48:10,333 --> 00:48:12,125 [LINDA]: How do you envision her sex life? 804 00:48:13,291 --> 00:48:15,583 [JIMMY]: It had an awful lot to do with the way she was 805 00:48:15,666 --> 00:48:16,916 with everything she did. 806 00:48:17,625 --> 00:48:19,583 So, you look at Lady Day, you've gotta include 807 00:48:19,666 --> 00:48:21,458 her sex life, or you don't look at her. 808 00:48:24,333 --> 00:48:27,833 ♪ Sometimes when you think it's on, baby ♪ 809 00:48:29,166 --> 00:48:32,916 ♪ It has turned off and gone ♪ 810 00:48:37,375 --> 00:48:39,041 [PLANE RUMBLES] 811 00:48:46,916 --> 00:48:49,125 [JOHN SIMMONS]: 812 00:49:22,208 --> 00:49:23,541 [HE LAUGHS] 813 00:49:24,708 --> 00:49:26,708 [INTERVIEWER]: I know a couple of good friends of yours 814 00:49:26,791 --> 00:49:28,000 who are not musicians. 815 00:49:28,458 --> 00:49:30,958 Orson Well... Tallulah Bankhead. 816 00:49:31,291 --> 00:49:33,583 [BILLIE]: 817 00:49:34,500 --> 00:49:36,625 [LINDA]: 818 00:49:38,125 --> 00:49:41,875 [DETROIT RED]: 819 00:49:45,875 --> 00:49:48,958 [ROY HARTE]: 820 00:49:59,791 --> 00:50:01,916 [SYLVIA SYMS]: The bar used to be packed 821 00:50:02,000 --> 00:50:04,041 with hero-worshippers. 822 00:50:06,750 --> 00:50:08,166 She looked like a panther... 823 00:50:08,458 --> 00:50:09,958 is the only way I can describe her 824 00:50:10,041 --> 00:50:13,083 with the most unbelievable face in the world. 825 00:50:15,625 --> 00:50:17,333 She really dug being high 826 00:50:17,416 --> 00:50:19,166 that's one thing I've got to say. 827 00:50:20,000 --> 00:50:22,291 But I never knew anyone with such a capacity. 828 00:50:25,833 --> 00:50:27,458 [JAMES "STUMP" CROSS]: All the doormen 829 00:50:27,541 --> 00:50:29,500 along 52nd Street 830 00:50:29,583 --> 00:50:31,083 had what Lady needed. 831 00:50:32,500 --> 00:50:33,458 [LINDA]: Like what? 832 00:50:33,625 --> 00:50:34,958 [JAMES "STUMP" CROSS]: Like pot. 833 00:50:35,791 --> 00:50:36,875 [LIGHTER CLICKS] 834 00:50:37,958 --> 00:50:42,833 [JOHN SIMMONS]: 835 00:51:20,333 --> 00:51:21,250 [LINDA]: Why? 836 00:51:21,958 --> 00:51:23,666 Why all those extremes? 837 00:51:24,375 --> 00:51:25,250 Why? 838 00:51:26,125 --> 00:51:29,541 [BOBBY TUCKER]: 839 00:51:30,416 --> 00:51:31,833 [LINDA]: And why shouldn't she? 840 00:51:34,291 --> 00:51:36,541 [CASSETTE CLICKS] 841 00:51:39,250 --> 00:51:43,333 [JIMMY FLETCHER]: 842 00:52:05,583 --> 00:52:06,666 [CAMERA CLICKS] 843 00:52:18,000 --> 00:52:20,625 [LINDA]: 844 00:52:21,083 --> 00:52:23,041 [JIMMY FLETCHER]: 845 00:52:30,791 --> 00:52:32,125 [KEYS JINGLE] 846 00:52:32,875 --> 00:52:37,541 [LINDA]: 847 00:52:38,750 --> 00:52:42,750 [JIMMY FLETCHER]: 848 00:52:44,000 --> 00:52:47,875 [LINDA]: 849 00:52:48,541 --> 00:52:50,916 [JIMMY FLETCHER]: 850 00:52:51,875 --> 00:52:53,166 [CAMERA CLICKS] 851 00:52:53,916 --> 00:52:56,291 [LINDA]: And would you say Billie was extremely smart 852 00:52:56,375 --> 00:52:57,541 in protecting herself? 853 00:52:58,250 --> 00:53:01,250 [JIMMY FLETCHER]: 854 00:53:07,833 --> 00:53:11,416 [LINDA AND JIMMY]: 855 00:53:13,416 --> 00:53:17,750 [JIMMY]: 856 00:54:00,750 --> 00:54:03,791 [LINDA AND JIMMY]: 857 00:54:04,166 --> 00:54:05,208 [LINDA]: 858 00:54:06,333 --> 00:54:10,541 [JIMMY FLETCHER]: 859 00:54:28,333 --> 00:54:29,666 [GUNFIRE ECHOES] 860 00:54:55,166 --> 00:54:56,875 [LINDA]: And she was in the hotel? 861 00:54:57,583 --> 00:55:00,875 [JIMMY FLETCHER]: 862 00:55:11,958 --> 00:55:14,833 [INDISTINCT POLICE RADIO CHATTER] 863 00:55:15,791 --> 00:55:17,625 [DISTANT SIREN BLARES] 864 00:55:18,291 --> 00:55:21,791 [LINDA]: 865 00:55:28,166 --> 00:55:31,625 [JIMMY FLETCHER]: 866 00:55:34,041 --> 00:55:38,208 [LINDA AND JIMMY]: 867 00:55:49,291 --> 00:55:51,125 [DOG BARKS] 868 00:55:51,250 --> 00:55:52,916 [VIRGINIA MCGLOCKEN]: Here at Alderson... 869 00:55:53,000 --> 00:55:55,541 the system was that when a person came in 870 00:55:55,666 --> 00:55:58,166 who was on drugs at the time 871 00:55:58,250 --> 00:56:00,208 that they were sent to the hospital 872 00:56:00,625 --> 00:56:02,791 and remained there until they were drug free. 873 00:56:02,916 --> 00:56:04,375 [ALARM BELL RINGS] - [DOG BARKS] 874 00:56:04,458 --> 00:56:07,375 This prison was segregated as to race. 875 00:56:07,458 --> 00:56:09,208 [SEWING MACHINES WHIR] 876 00:56:10,208 --> 00:56:12,291 She really went into the woodwork here. 877 00:56:13,166 --> 00:56:15,666 She had made up her mind that she was just going 878 00:56:15,750 --> 00:56:18,750 to do her time and get out as fast as she could. 879 00:56:20,875 --> 00:56:23,458 [JEAN ALLEN]: This was the room she occupied. 880 00:56:24,375 --> 00:56:26,500 She certainly was no trouble ever. 881 00:56:26,583 --> 00:56:27,458 She was a... 882 00:56:28,291 --> 00:56:31,208 generous person, I'd say, uh... 883 00:56:32,375 --> 00:56:33,750 in thought, anyway. 884 00:56:33,833 --> 00:56:36,208 She never bothered anybody. 885 00:56:37,666 --> 00:56:39,500 [VIRGINIA MCGLOCKEN]: It's almost impossible 886 00:56:39,583 --> 00:56:41,041 to say how quiet she was. 887 00:56:42,291 --> 00:56:44,750 To my knowledge, she never sang a note. 888 00:56:54,041 --> 00:56:56,958 [WIND CHIMES JINGLE] 889 00:56:59,250 --> 00:57:02,125 [MYRA LUFTMAN]: It took Linda a long time to work on the book. 890 00:57:03,500 --> 00:57:04,875 Eight years of her life. 891 00:57:06,541 --> 00:57:09,333 She had some bad times, and, uh, we would get calls 892 00:57:09,416 --> 00:57:10,833 in the middle of the night. 893 00:57:12,833 --> 00:57:14,875 [CARMEN MCRAE]: I just don't feel like doing it. 894 00:57:15,500 --> 00:57:18,083 All this shoulda been done about this woman before she died 895 00:57:18,166 --> 00:57:19,833 not after she's dead, and everybody's... 896 00:57:20,291 --> 00:57:22,625 just going through all kinds of shit about it now 897 00:57:22,708 --> 00:57:24,708 cos I've had it up to here with that shit. 898 00:57:26,708 --> 00:57:28,875 [MYRA LUFTMAN]: As the time went on, she kept pushing 899 00:57:28,958 --> 00:57:31,625 her own set deadline further and further. 900 00:57:33,708 --> 00:57:36,416 At one point, I remember we had a discussion 901 00:57:36,541 --> 00:57:38,583 and I said, "You know, maybe it's just time 902 00:57:38,666 --> 00:57:41,166 to finish it, and to leave it imperfect". 903 00:57:41,833 --> 00:57:45,291 But she couldn't, it was so much part of her. 904 00:57:47,083 --> 00:57:49,208 The reason that Linda struggled so much 905 00:57:49,541 --> 00:57:52,000 was that inside her own head 906 00:57:52,083 --> 00:57:55,000 she heard the voice that she wanted Billie to have... 907 00:57:55,875 --> 00:57:59,250 but she couldn't get that correct voice on paper. 908 00:58:00,500 --> 00:58:02,708 [MUSIC: "Just One More Chance" by Billy Holiday] 909 00:58:02,791 --> 00:58:07,625 ♪ Just one more chance ♪ 910 00:58:10,666 --> 00:58:12,708 ♪ I've learned the meaning... ♪ 911 00:58:12,916 --> 00:58:15,041 [INTERVIEWER]: Haven't you gotta find a piano man 912 00:58:15,125 --> 00:58:16,500 of your own that you bring in there? 913 00:58:16,583 --> 00:58:18,000 [BILLIE]: Yes, he goes everywhere with me. 914 00:58:18,083 --> 00:58:19,541 His name is Bobby Tucker. 915 00:58:19,666 --> 00:58:23,083 Bobby's been with me four years, and he's a very great musician. 916 00:58:24,583 --> 00:58:26,375 [BOBBY TUCKER]: After she came out of jail 917 00:58:26,458 --> 00:58:28,541 she was so glad to get back 918 00:58:28,625 --> 00:58:31,708 and she was so amazed that people hadn't forgotten her. 919 00:58:34,833 --> 00:58:36,458 ♪ Still I'm hoping... ♪ 920 00:58:36,666 --> 00:58:39,375 [BOBBY TUCKER]: We did Carnegie Concert Hall. 921 00:58:41,416 --> 00:58:42,625 I remember opening night. 922 00:58:42,708 --> 00:58:44,458 There was a line around the block 923 00:58:44,500 --> 00:58:46,833 and the people were standing out there in really waiting 924 00:58:46,916 --> 00:58:48,916 to see what a women prisoner looked like. 925 00:58:52,041 --> 00:58:53,916 [INTERVIEWER]: What happened in Carnegie Hall? 926 00:58:54,000 --> 00:58:54,958 Were you frightened? 927 00:58:55,041 --> 00:58:56,625 [BILLIE]: Oh, I was scared to death. 928 00:58:56,708 --> 00:58:58,166 I waited until the last minute 929 00:58:58,250 --> 00:58:59,666 and I said I wasn't going to go on. 930 00:58:59,708 --> 00:59:01,708 There's too many people. [SHE CHUCKLES] 931 00:59:02,500 --> 00:59:04,583 And I couldn't control my knees! 932 00:59:05,250 --> 00:59:07,541 Boy, you could see my knees is going 933 00:59:07,625 --> 00:59:10,000 and people didn't know if I was going to dance or sing. 934 00:59:10,041 --> 00:59:11,583 [THEY CHUCKLE] 935 00:59:16,083 --> 00:59:18,500 [BILLIE'S SONG CONTINUES] ♪ Still I'm hoping... ♪ 936 00:59:19,333 --> 00:59:21,083 [BOBBY TUCKER]: She would walk out 937 00:59:21,166 --> 00:59:23,833 and before she opens her mouth 938 00:59:24,708 --> 00:59:27,416 she had everybody in the place. 939 00:59:27,833 --> 00:59:29,583 ♪ ...somewhere... ♪ 940 00:59:32,416 --> 00:59:34,625 ♪ I said that I... ♪ 941 00:59:34,708 --> 00:59:36,291 [BOBBY TUCKER]: She didn't really think that she was 942 00:59:36,375 --> 00:59:37,708 a very good singer. 943 00:59:37,791 --> 00:59:39,666 She could tell a story. 944 00:59:40,541 --> 00:59:42,500 [LINDA]: She had no confidence in her voice? 945 00:59:42,583 --> 00:59:44,500 [BOBBY TUCKER]: No. - [LINDA]: None at all? 946 00:59:45,791 --> 00:59:48,250 [BILLIE]: Actresses, artists, I look at them 947 00:59:48,375 --> 00:59:49,500 like "woah". 948 00:59:49,583 --> 00:59:50,750 [INTERVIEWER]: And you don't consider yourself 949 00:59:50,833 --> 00:59:51,833 in the same league? 950 00:59:51,916 --> 00:59:53,375 [BILLIE]: No, my God, no! 951 00:59:53,458 --> 00:59:54,500 [INTERVIEWER]: Why not? 952 00:59:54,583 --> 00:59:55,958 You've thought as much about it. 953 00:59:56,083 --> 00:59:58,291 You have developed a style, a technique, just as much 954 00:59:58,375 --> 01:00:00,833 as they have done, you please just as many people 955 01:00:00,916 --> 01:00:02,833 so, why are you not just as much an artiste 956 01:00:02,916 --> 01:00:04,125 as any one of them? 957 01:00:04,375 --> 01:00:07,875 [BILLIE]: 958 01:00:13,833 --> 01:00:15,250 [INTERVIEWER]: Oh, I think you do. 959 01:00:15,375 --> 01:00:16,583 I think you do know that. 960 01:00:17,375 --> 01:00:19,583 [LINDA]: What was the difference between what Ella did 961 01:00:19,666 --> 01:00:20,708 and Billie? 962 01:00:21,166 --> 01:00:23,416 [BOBBY TUCKER]: 963 01:00:38,208 --> 01:00:40,250 [SYLVIA SYMS]: She taught me that if you almost 964 01:00:40,333 --> 01:00:41,583 laugh out loud 965 01:00:41,666 --> 01:00:44,250 but never quite make it, the audience will laugh. 966 01:00:45,750 --> 01:00:48,541 If you almost cry, but never quite make it 967 01:00:48,666 --> 01:00:50,083 the audience will cry. 968 01:00:52,833 --> 01:00:54,041 [LINDA]: When would she cry? 969 01:00:54,458 --> 01:00:56,250 [SYLVIA SYMS]: She'd cry about a lot of things 970 01:00:56,333 --> 01:00:59,041 but never when she thought anybody was watching her. 971 01:00:59,250 --> 01:01:01,500 ♪ ...to cry my heart out ♪ 972 01:01:03,375 --> 01:01:05,291 ♪ For just... ♪ 973 01:01:05,833 --> 01:01:07,958 [JAMES "STUMP" CROSS]: Nobody could sing like Lady. 974 01:01:08,041 --> 01:01:09,041 Not ever. 975 01:01:10,708 --> 01:01:12,625 We worked the Club Ebony together. 976 01:01:14,333 --> 01:01:16,916 That's when John Levy came into the spotlight. 977 01:01:22,583 --> 01:01:25,000 ["JUST ONE MORE CHANCE" SONG ENDS] 978 01:01:26,541 --> 01:01:28,083 [LINDA, VO]: John became manager 979 01:01:28,875 --> 01:01:30,875 sometimes called "husband-manager"... 980 01:01:32,166 --> 01:01:33,375 though he never married her 981 01:01:33,458 --> 01:01:35,500 because he was already married and had a son. 982 01:01:37,541 --> 01:01:39,208 But Billie did not care about 983 01:01:39,291 --> 01:01:41,125 such legal considerations, anyway. 984 01:01:42,666 --> 01:01:44,791 She did not relate to legal codes. 985 01:01:46,375 --> 01:01:50,041 She did what she wanted to do with a vengeance. 986 01:01:53,041 --> 01:01:55,041 [MUSIC: "My Man" by Jacques-Charles and Pollock] 987 01:01:55,250 --> 01:01:57,916 ♪ It costs me lot ♪ 988 01:02:00,291 --> 01:02:02,791 ♪ But there's one thing ♪ 989 01:02:03,916 --> 01:02:06,166 ♪ That I've got ♪ 990 01:02:07,666 --> 01:02:11,791 ♪ It's my man ♪ 991 01:02:12,458 --> 01:02:14,708 [MARIA BRYANT]: John Levy, right! 992 01:02:14,791 --> 01:02:15,875 The bastard! 993 01:02:15,958 --> 01:02:18,625 The dirty, rotten, stinking bastard! 994 01:02:18,708 --> 01:02:21,166 [LINDA]: There is nothing good you could say about that man? 995 01:02:21,250 --> 01:02:22,458 [MARIA]: Not one thing, sweetheart. 996 01:02:22,541 --> 01:02:24,125 I try to say something good about, you know... 997 01:02:24,208 --> 01:02:25,750 [LINDA]: There's no reason to say anything good... 998 01:02:25,791 --> 01:02:27,708 [MARIA]: No reason to say anything good about him. 999 01:02:27,791 --> 01:02:31,416 ♪ All of this I'll soon forget ♪ 1000 01:02:32,916 --> 01:02:36,166 ♪ With my man ♪ 1001 01:02:36,625 --> 01:02:38,500 [JAMES "STUMP" CROSS]: John Levy is a pimp. 1002 01:02:39,083 --> 01:02:40,166 A parasite. 1003 01:02:40,458 --> 01:02:42,916 I wouldn't wanna brush up with him if I had overalls on. 1004 01:02:43,541 --> 01:02:45,875 [MUSIC CONTINUES]: ♪ He's no hero ♪ 1005 01:02:45,958 --> 01:02:47,875 [JAMES "STUMP" CROSS]: See, these kind of guys 1006 01:02:47,958 --> 01:02:50,166 with the Cadillac, or whatever... 1007 01:02:50,541 --> 01:02:52,166 they represented something to Lady. 1008 01:02:52,250 --> 01:02:54,208 [LINDA]: They represented what she came up for. 1009 01:02:54,291 --> 01:02:55,291 [JAMES]: Yeah. 1010 01:02:55,416 --> 01:03:00,291 ♪ Yes, I love him ♪ 1011 01:03:02,125 --> 01:03:06,041 ♪ Two or three girls has he ♪ 1012 01:03:07,541 --> 01:03:11,708 ♪ That he likes as well as me ♪ 1013 01:03:13,083 --> 01:03:15,458 ♪ But I love him ♪ 1014 01:03:15,833 --> 01:03:18,166 [BOBBY TUCKER]: I usually spit after John Levy. 1015 01:03:19,750 --> 01:03:21,958 If she'd ask him for 50 dollars, he'd knock her down! 1016 01:03:22,333 --> 01:03:23,625 [LINDA]: How'd he knock her down? 1017 01:03:23,708 --> 01:03:24,791 [BOBBY]: With his fist! 1018 01:03:24,833 --> 01:03:26,000 [LINDA]: His fist in her face? 1019 01:03:26,083 --> 01:03:27,416 [BOBBY TUCKER]: You darned right! 1020 01:03:27,500 --> 01:03:29,541 In the stomach, anywhere. 1021 01:03:30,458 --> 01:03:34,125 ♪ He beats me too ♪ 1022 01:03:37,166 --> 01:03:42,458 ♪ What can I do ♪ 1023 01:03:44,625 --> 01:03:46,958 [MARIA BRYANT]: If she was hooked, she was hooked. 1024 01:03:47,333 --> 01:03:48,666 And I mean on... 1025 01:03:49,500 --> 01:03:52,083 men, chick, dope... whatever it was. 1026 01:03:53,125 --> 01:03:54,291 She was hooked. 1027 01:03:55,750 --> 01:03:57,958 ♪ But I don't care ♪ 1028 01:03:58,916 --> 01:04:02,208 ♪ When he takes me in his arms ♪ 1029 01:04:03,958 --> 01:04:10,666 ♪ The world is bright alright ♪ 1030 01:04:10,791 --> 01:04:13,125 [JIMMY ROWLES]: She's up there singing "My Man". 1031 01:04:13,583 --> 01:04:15,791 See, a masochist is what she was. 1032 01:04:17,250 --> 01:04:20,750 All she wanted was a guy who'd tell her he loved her... 1033 01:04:20,833 --> 01:04:22,958 you know, but not all the time 1034 01:04:23,041 --> 01:04:24,750 because she digs punishment. 1035 01:04:25,416 --> 01:04:26,666 So, when he does say it 1036 01:04:26,750 --> 01:04:28,583 it's gotta mean something real wild 1037 01:04:28,708 --> 01:04:30,916 you know, like in the middle of something crazy. 1038 01:04:32,208 --> 01:04:36,625 ♪ I'm his... ♪ 1039 01:04:37,375 --> 01:04:42,458 ♪ ...forever... ♪ 1040 01:04:44,000 --> 01:04:49,416 ♪ ...more ♪ 1041 01:04:52,458 --> 01:04:53,666 [APPLAUSE] 1042 01:04:53,833 --> 01:05:00,000 [MELBA LISTON]: 1043 01:05:00,708 --> 01:05:04,166 [LINDA]: 1044 01:05:36,791 --> 01:05:42,958 [JIMMY FLETCHER]: 1045 01:05:47,375 --> 01:05:49,208 [LINDA]: 1046 01:05:50,208 --> 01:05:53,458 [JIMMY FLETCHER]: 1047 01:05:53,708 --> 01:05:56,500 [LINDA AND JIMMY]: 1048 01:06:11,875 --> 01:06:14,791 [LINDA AND JIMMY]: 1049 01:06:22,541 --> 01:06:25,750 [COLONEL GEORGE H. WHITE]: 1050 01:06:25,833 --> 01:06:26,833 [LINDA]: Why not? 1051 01:06:27,625 --> 01:06:30,541 [COL WHITE]: 1052 01:07:36,583 --> 01:07:40,458 [LINDA]: 1053 01:07:40,875 --> 01:07:43,875 [JIMMY FLETCHER]: 1054 01:07:45,375 --> 01:07:46,500 [LINDA]: 1055 01:07:47,750 --> 01:07:49,750 [JIMMY FLETCHER]: 1056 01:07:58,875 --> 01:08:00,541 [DR JAMES HAMILTON]: Billie was indicted. 1057 01:08:02,625 --> 01:08:04,125 As soon as she was arrested 1058 01:08:04,708 --> 01:08:07,041 I immediately put her in Twin Pines 1059 01:08:07,208 --> 01:08:09,666 kept her under full psychiatric controls 1060 01:08:10,041 --> 01:08:11,916 for five days and proved 1061 01:08:12,000 --> 01:08:14,125 that she was not addicted to an opiate. 1062 01:08:15,500 --> 01:08:17,083 [LINDA]: Now, you made observations. 1063 01:08:17,166 --> 01:08:19,083 You have to, especially if you're a psychiatrist. 1064 01:08:19,166 --> 01:08:20,750 But what's made her the way she is? 1065 01:08:20,833 --> 01:08:24,250 What drove her to a series of John Levys, to heroin? 1066 01:08:25,000 --> 01:08:27,041 [DR JAMES HAMILTON]: I don't like to use this word 1067 01:08:27,125 --> 01:08:29,375 and it's not a good word, but... 1068 01:08:30,541 --> 01:08:32,083 she's really a psychopath. 1069 01:08:33,750 --> 01:08:35,000 [LINDA]: A psychopath? 1070 01:08:37,041 --> 01:08:39,208 [DR JAMES HAMILTON]: An impulse-driven... 1071 01:08:39,500 --> 01:08:41,916 strong, talented... 1072 01:08:42,500 --> 01:08:44,708 but not dependable individual... 1073 01:08:45,583 --> 01:08:49,625 who does this because this is what she has the impulse to do 1074 01:08:49,708 --> 01:08:51,958 right now, and she gets into all sorts of trouble. 1075 01:08:53,291 --> 01:08:54,416 [LINDA]: A psychopath. 1076 01:08:56,833 --> 01:08:58,458 [DR JAMES HAMILTON]: Key to this thing 1077 01:08:58,541 --> 01:08:59,916 is the impulse. 1078 01:09:01,208 --> 01:09:02,958 [LINDA]: Was there any perversity in this? 1079 01:09:04,208 --> 01:09:06,708 When I said "perversity", I meant a demon. 1080 01:09:07,083 --> 01:09:09,833 You know, there's a demon sometimes eating away at... 1081 01:09:10,750 --> 01:09:12,750 It kinda forces you to... 1082 01:09:13,083 --> 01:09:16,500 do something that's going to illicit some kind of shock. 1083 01:09:18,875 --> 01:09:21,375 And this is something I can identify with. 1084 01:09:22,500 --> 01:09:23,541 [CASSETTE STOPS] 1085 01:09:28,041 --> 01:09:29,708 [MYRA LUFTMAN]: As Linda went on 1086 01:09:29,791 --> 01:09:32,333 the identification became much more intense. 1087 01:09:34,666 --> 01:09:38,750 Like Billie, she was attracted to men who were not bringing out 1088 01:09:38,833 --> 01:09:40,375 necessarily the best in her. 1089 01:09:41,833 --> 01:09:44,166 She was married twice, and she was divorced twice. 1090 01:09:47,666 --> 01:09:49,000 While she was writing the book... 1091 01:09:49,833 --> 01:09:52,916 Linda became close with some of the people she interviewed. 1092 01:10:00,333 --> 01:10:02,083 One time we were in our apartment 1093 01:10:02,291 --> 01:10:04,708 the phone rang, and a man's voice said 1094 01:10:05,416 --> 01:10:06,708 "Can I speak to Linda?" 1095 01:10:07,041 --> 01:10:08,791 Of course I asked, "Who's calling?" 1096 01:10:09,250 --> 01:10:10,916 and he said, "Well, it's Bill". 1097 01:10:13,083 --> 01:10:15,291 Linda said, "Do you know who Bill is?" 1098 01:10:15,375 --> 01:10:16,875 I said, "No". 1099 01:10:16,958 --> 01:10:18,291 And she says, "Well, you do 1100 01:10:18,375 --> 01:10:19,583 it's Count Basie". 1101 01:10:19,666 --> 01:10:21,000 [APPLAUSE] 1102 01:10:22,375 --> 01:10:24,083 [LINDA]: Ask me a question about Billie. 1103 01:10:24,750 --> 01:10:27,041 [COUNT BASIE AND LINDA]: 1104 01:10:28,000 --> 01:10:29,250 [THEY CHUCKLE] 1105 01:10:47,375 --> 01:10:50,000 [COUNT BASIE]: 1106 01:10:50,333 --> 01:10:51,875 [LINDA]: 1107 01:10:52,916 --> 01:10:55,625 [COUNT BASIE]: 1108 01:10:56,333 --> 01:10:57,791 [LINDA]: 1109 01:10:58,041 --> 01:11:01,166 [COUNT BASIE]: 1110 01:11:03,708 --> 01:11:06,208 [MYRA LUFTMAN]: I'm not sure what Linda's relationship 1111 01:11:06,291 --> 01:11:08,208 with Basie actually was. 1112 01:11:11,583 --> 01:11:14,208 It's an impression that there was a closeness 1113 01:11:14,708 --> 01:11:16,833 based on what she had said to me. 1114 01:11:23,875 --> 01:11:26,041 [INTERVIEWER 1]: I understand that one of the reasons 1115 01:11:26,125 --> 01:11:28,458 for your present happiness is your husband Louis. 1116 01:11:28,541 --> 01:11:31,166 How does he react to some of your more suggestive things? 1117 01:11:31,250 --> 01:11:35,083 Ah, no, he tells me how to sing and what to sing 1118 01:11:35,166 --> 01:11:37,041 and, oh, it's just getting terrible. 1119 01:11:37,083 --> 01:11:38,208 [SHE LAUGHS] 1120 01:11:38,291 --> 01:11:39,666 [INTERVIEWER]: Well, your husband's right here 1121 01:11:39,750 --> 01:11:41,875 in the dressing room with us. Mr Louis McKay. 1122 01:11:42,625 --> 01:11:44,458 [INTERVIEWER 2]: Mr McKay, tell us something 1123 01:11:44,541 --> 01:11:46,375 about how you two work together. 1124 01:11:46,750 --> 01:11:48,166 [LOUIS MACKAY]: Well, we have something like 1125 01:11:48,250 --> 01:11:49,333 a private agreement. 1126 01:11:49,416 --> 01:11:52,250 I handle all the business, she handles all the music. 1127 01:11:52,500 --> 01:11:53,750 Though she tells me sometimes 1128 01:11:53,833 --> 01:11:55,166 "You stay outta my music". 1129 01:11:55,375 --> 01:11:57,083 [INTERVIEWER 2]: And does she stay out of the business? 1130 01:11:57,166 --> 01:11:59,166 Yes, she does. - Then you'll get along fine. 1131 01:11:59,250 --> 01:12:01,125 [INTERVIEWER 1]: What else are you doing besides the records 1132 01:12:01,208 --> 01:12:02,708 and touring around the spots? 1133 01:12:03,041 --> 01:12:05,458 [BILLIE]: Well, 12th October, my dream is 1134 01:12:05,541 --> 01:12:07,416 supposed to come true. I'm going to Europe. 1135 01:12:07,541 --> 01:12:08,958 [INTERVIEWER 1]: Oh, you've never been there? 1136 01:12:09,041 --> 01:12:10,333 No. - Oh! Well... 1137 01:12:10,416 --> 01:12:11,916 [BILLIE]: I've always wanted to go. 1138 01:12:14,583 --> 01:12:16,875 [INTERVIEWER 3]: Is this a vacation trip to Europe, or? 1139 01:12:17,000 --> 01:12:20,833 [BILLIE]: No, honey, no vacations, all work. 1140 01:12:22,458 --> 01:12:25,375 ♪ Are the stars out tonight? ♪ 1141 01:12:25,958 --> 01:12:28,625 ♪ I don't know if it's cloudy or bright ♪ 1142 01:12:30,958 --> 01:12:34,750 ♪ For I only have eyes for you, dear ♪ 1143 01:12:36,541 --> 01:12:38,541 ♪ The moon may be high ♪ 1144 01:12:38,833 --> 01:12:41,708 ♪ Millions of people go by ♪ 1145 01:12:42,916 --> 01:12:46,500 ♪ But I only have eyes for you ♪ 1146 01:12:48,416 --> 01:12:53,541 ♪ I don't know if we're in a garden ♪ 1147 01:12:55,125 --> 01:12:58,875 ♪ Or on a crowded avenue ♪ 1148 01:12:59,791 --> 01:13:02,750 ♪ You are here, so am I ♪ 1149 01:13:03,666 --> 01:13:06,208 ♪ Millions of people go by ♪ 1150 01:13:07,625 --> 01:13:11,208 ♪ But they all disappear from view ♪ 1151 01:13:12,458 --> 01:13:17,666 ♪ And I only have eyes for you ♪ 1152 01:13:18,708 --> 01:13:20,041 [INTERVIEWER]: What is it that you're after 1153 01:13:20,125 --> 01:13:21,083 out of life yourself, Billie, now? 1154 01:13:21,208 --> 01:13:25,875 [BILLIE]: 1155 01:13:31,208 --> 01:13:33,250 [DOROTHY WINSTON]: She'd always wanted children... 1156 01:13:33,333 --> 01:13:34,458 never able to have any. 1157 01:13:36,041 --> 01:13:38,166 I just had two girls then. 1158 01:13:39,916 --> 01:13:42,083 She used to love to paint them fingernails. 1159 01:13:42,541 --> 01:13:44,250 And she would sing to 'em 1160 01:13:44,333 --> 01:13:46,208 and she would take them shopping. 1161 01:13:47,458 --> 01:13:50,250 ♪ You are here, so am I ♪ 1162 01:13:50,916 --> 01:13:53,708 ♪ Millions of people go by ♪ 1163 01:13:55,041 --> 01:13:58,500 ♪ But they all disappear from view ♪ 1164 01:13:59,916 --> 01:14:03,541 [DOROTHY WINSTON]: It was her dream to retire someday 1165 01:14:03,833 --> 01:14:06,541 with enough money to buy a big spread 1166 01:14:07,083 --> 01:14:10,458 and have a home for children who had no mother and father. 1167 01:14:11,041 --> 01:14:13,541 ♪ And I only have eyes ♪ 1168 01:14:14,333 --> 01:14:16,666 ♪ Big bulging eyes ♪ 1169 01:14:17,833 --> 01:14:20,041 ♪ Great big eyes ♪ 1170 01:14:20,166 --> 01:14:22,125 ♪ For you ♪ 1171 01:14:22,208 --> 01:14:24,083 [DOROTHY WINSTON]: But he was just using her 1172 01:14:24,166 --> 01:14:25,958 to get control of her money. 1173 01:14:26,041 --> 01:14:28,208 [APPLAUSE] 1174 01:14:31,083 --> 01:14:34,250 [PLANE ENGINE ROARS] 1175 01:14:36,958 --> 01:14:39,583 [MEMRY MIDGETT]: I was with her during the return to New York. 1176 01:14:40,041 --> 01:14:42,125 This was a tremendously big concert. 1177 01:14:42,625 --> 01:14:45,083 I'm sure you've been told all the people that were on it. 1178 01:14:45,541 --> 01:14:50,000 Duke Ellington's orchestra, Sarah Vaughan, Bird, Prez... 1179 01:14:50,833 --> 01:14:52,000 Count Basie. 1180 01:14:53,541 --> 01:14:55,666 But it seemed like everybody there 1181 01:14:55,750 --> 01:14:57,750 had come to see one person. 1182 01:14:58,750 --> 01:15:00,375 [INTERVIEWER]: And now I'd like you to know America's 1183 01:15:00,458 --> 01:15:02,958 number one song stylist, Miss Billie Holiday. 1184 01:15:03,166 --> 01:15:04,541 [APPLAUSE] 1185 01:15:06,250 --> 01:15:07,833 [MEMRY MIDGETT]: She closed the show. 1186 01:15:10,166 --> 01:15:14,000 And she sang encore after encore after encore. 1187 01:15:14,083 --> 01:15:15,791 If we stayed on that stage an hour... 1188 01:15:15,875 --> 01:15:17,875 we stayed on an hour and 30 minutes. 1189 01:15:23,583 --> 01:15:26,541 Well, after the concert was the fight. 1190 01:15:29,208 --> 01:15:33,500 Louis began to loudmouth, and that started a big rumble... 1191 01:15:34,083 --> 01:15:36,666 which then we all ended up out in the street... 1192 01:15:38,291 --> 01:15:41,625 and he literally knocked her across the street. 1193 01:15:44,625 --> 01:15:46,208 But she loved that punishment. 1194 01:15:47,208 --> 01:15:49,166 This is the nature of a masochist. 1195 01:15:49,958 --> 01:15:51,041 [CAMERA CLICKS] 1196 01:15:51,125 --> 01:15:55,166 After he had just beaten her severely and kicked her... 1197 01:15:55,291 --> 01:15:57,291 is that after they had gotten the punishment 1198 01:15:57,375 --> 01:16:00,041 then they had been so completely gratified 1199 01:16:00,125 --> 01:16:04,083 then they can just enter into a sexual tryst. 1200 01:16:07,250 --> 01:16:08,208 [CAMERA CLICKS] 1201 01:16:08,291 --> 01:16:12,458 Louis had a technique going of trying to control her mind. 1202 01:16:13,083 --> 01:16:14,333 It was like hypnotism. 1203 01:16:14,500 --> 01:16:16,458 "You can't depend on anyone but me". 1204 01:16:16,750 --> 01:16:19,625 "You have no friends but me, you must stay in here 1205 01:16:19,708 --> 01:16:22,125 and keep yourself away from everyone but me". 1206 01:16:24,875 --> 01:16:27,916 There were days when he just kept her under lock and key. 1207 01:16:32,416 --> 01:16:33,833 He'd boss her around... 1208 01:16:34,666 --> 01:16:36,500 and tell her she "couldn't do this" 1209 01:16:36,583 --> 01:16:37,791 she "couldn't do that". 1210 01:16:38,250 --> 01:16:40,083 And she wanted something to eat, and he'd say 1211 01:16:40,166 --> 01:16:42,166 "Go on to bed, you don't need anything to eat". 1212 01:16:44,250 --> 01:16:45,875 And she lost so much weight. 1213 01:16:47,083 --> 01:16:48,833 She looked like a skeleton. 1214 01:16:51,916 --> 01:16:53,958 [EARL ZAIDINS]: If you were to talk to Louis 1215 01:16:54,041 --> 01:16:56,375 he would probably tell you an entirely different story. 1216 01:16:56,458 --> 01:16:57,875 He's a pathological liar. 1217 01:17:00,708 --> 01:17:02,333 And he'd probably ask for money. 1218 01:17:04,000 --> 01:17:05,958 There was a time he came up to the apartment 1219 01:17:06,041 --> 01:17:07,500 after he hit her on the head. 1220 01:17:07,750 --> 01:17:09,750 [LINDA]: He said he hit her on the head with a telephone? 1221 01:17:09,833 --> 01:17:11,958 [EARL ZAIDINS]: Yeah, I locked her in my bathroom. 1222 01:17:13,208 --> 01:17:15,916 He came and he said, "I got a gun here". 1223 01:17:19,833 --> 01:17:21,541 [CASSETTE WINDS] 1224 01:17:22,250 --> 01:17:23,958 [LINDA]: See, I can't... I can't write 1225 01:17:24,041 --> 01:17:26,958 whether you're telling me something about Louis or not. 1226 01:17:27,083 --> 01:17:29,000 I can't say it, write it 1227 01:17:29,083 --> 01:17:30,583 because I'm liable 1228 01:17:30,666 --> 01:17:32,916 and he's alive and he's tough. - Yeah, mm-hm. 1229 01:17:33,750 --> 01:17:35,208 [LINDA]: I'm in trouble, not you. 1230 01:17:43,666 --> 01:17:46,166 [MYRA LUFTMAN]: In the process of interviewing for the book 1231 01:17:47,000 --> 01:17:48,583 Linda had been threatened... 1232 01:17:50,000 --> 01:17:52,875 by people within the world that she was travelling. 1233 01:17:55,875 --> 01:17:57,791 I don't know why she was threatened. 1234 01:17:58,458 --> 01:18:01,041 She was a journalist, she was interviewing... 1235 01:18:02,333 --> 01:18:05,208 but I think the threat was personally motivated. 1236 01:18:08,916 --> 01:18:11,625 At times, she said there was discomfort 1237 01:18:11,708 --> 01:18:13,958 with how she was spoken to 1238 01:18:14,041 --> 01:18:18,208 in terms of having a relationship with Basie. 1239 01:18:21,083 --> 01:18:23,791 I don't know whether it was because of the age. 1240 01:18:23,875 --> 01:18:26,083 I just know she had been threatened. 1241 01:18:26,916 --> 01:18:31,541 Not by Basie, but by some of the people surrounding him. 1242 01:18:33,166 --> 01:18:34,791 [LINDA]: OK, uh... 1243 01:18:34,875 --> 01:18:37,208 I guess we're gonna end now. Do you know something? 1244 01:18:37,291 --> 01:18:39,083 This is the end of our interview. 1245 01:18:39,208 --> 01:18:40,541 [CASSETTE CLICKS OFF] 1246 01:18:43,416 --> 01:18:47,208 ♪ I'll never smile again ♪ 1247 01:18:50,750 --> 01:18:54,916 ♪ Until I smile at you ♪ 1248 01:19:00,041 --> 01:19:03,666 ♪ I'll never laugh again ♪ 1249 01:19:06,583 --> 01:19:08,333 ♪ What good would it do? ♪ 1250 01:19:08,500 --> 01:19:13,458 [RAY ELLIS]: 1251 01:19:20,500 --> 01:19:21,916 I was in love with Billie... 1252 01:19:22,791 --> 01:19:25,250 not necessarily Billie, but somebody. 1253 01:19:26,125 --> 01:19:27,916 That voice, it turned me on. 1254 01:19:30,125 --> 01:19:32,208 But when I met her, she was a repulsive. 1255 01:19:33,916 --> 01:19:36,166 She looked a little scabby, a little dirty. 1256 01:19:43,625 --> 01:19:45,916 [MILT HINTON]: Poor Billie, her heart was just broken. 1257 01:20:32,166 --> 01:20:34,833 [INTERVIEWER]: Of all the songs you've written, Billie Holiday 1258 01:20:34,916 --> 01:20:37,458 which one most clearly tells your story? 1259 01:20:38,458 --> 01:20:40,458 [BILLIE]: Oh, I think "Don't Explain". 1260 01:20:40,541 --> 01:20:42,416 [INTERVIEWER]: Did you write the words and the music? 1261 01:20:42,500 --> 01:20:43,666 Yes. - Both of them? 1262 01:20:43,750 --> 01:20:45,083 [BILLIE]: I had help with it. 1263 01:20:45,416 --> 01:20:48,333 [INTERVIEWER]: Close your eyes and speak the words like a poet. 1264 01:20:50,750 --> 01:20:54,583 [BILLIE]: Um, hush now, don't explain. 1265 01:20:55,875 --> 01:20:58,000 I know you raised Cain. 1266 01:20:59,083 --> 01:21:00,791 I'm glad that you're back. 1267 01:21:01,458 --> 01:21:02,666 Don't explain. 1268 01:21:04,291 --> 01:21:06,541 Quiet, don't explain. 1269 01:21:07,458 --> 01:21:09,916 You mixed with some dame. 1270 01:21:11,083 --> 01:21:12,666 Skip that lipstick. 1271 01:21:13,458 --> 01:21:14,833 Don't explain. 1272 01:21:17,416 --> 01:21:21,458 ♪ You know that I love you ♪ 1273 01:21:22,333 --> 01:21:26,666 ♪ And what love endures ♪ 1274 01:21:28,583 --> 01:21:33,041 ♪ All my thoughts are of you ♪ 1275 01:21:34,291 --> 01:21:39,500 ♪ For I'm so completely yours ♪ 1276 01:21:40,291 --> 01:21:42,708 [MEMRY MIDGETT]: She would call me up maybe three 1277 01:21:42,791 --> 01:21:44,708 three thirty, four o'clock in the morning... 1278 01:21:45,375 --> 01:21:46,958 and it seemed like she was... 1279 01:21:47,666 --> 01:21:49,250 almost hallucinating... 1280 01:21:49,916 --> 01:21:51,833 and she would say, "Oh, I'm so scared 1281 01:21:51,916 --> 01:21:53,541 I'm here all by myself". 1282 01:21:55,666 --> 01:21:57,833 But she would talk to me for hours 1283 01:21:57,916 --> 01:22:01,166 and tell me about how she got started in prostitution. 1284 01:22:02,125 --> 01:22:03,708 She was 13 years old 1285 01:22:04,125 --> 01:22:07,125 and at that time, she had her own girls on the street. 1286 01:22:09,166 --> 01:22:11,208 She was terribly worried 1287 01:22:11,291 --> 01:22:13,458 about whether or not God would forgive her. 1288 01:22:15,875 --> 01:22:19,000 ♪ My life ♪ 1289 01:22:20,541 --> 01:22:24,791 ♪ Yours, love ♪ 1290 01:22:26,875 --> 01:22:28,458 ♪ Don't explain ♪ 1291 01:22:33,666 --> 01:22:35,458 [EARL ZAIDINS]: 1292 01:22:49,625 --> 01:22:51,208 [LINDA]: 1293 01:22:51,916 --> 01:22:54,833 [EARL ZAIDINS]: 1294 01:23:02,250 --> 01:23:04,000 [MEMRY MIDGETT]: As far as I'm concerned 1295 01:23:04,541 --> 01:23:10,583 her use of narcotics was just another way of self-punishment. 1296 01:23:14,000 --> 01:23:16,458 [RUBY DAVIES]: She told me that when she was a little girl 1297 01:23:16,791 --> 01:23:18,166 down in her hometown... 1298 01:23:19,208 --> 01:23:20,333 she was raped. 1299 01:23:23,458 --> 01:23:25,166 [BILLIE COUGHS] - [LINDA]: Who raped her? 1300 01:23:25,833 --> 01:23:27,208 [RUBY DAVIES]: She didn't tell me. 1301 01:23:28,166 --> 01:23:30,000 There were tears in her eyes. 1302 01:23:36,791 --> 01:23:40,125 [MARIE BRYANT]: She was always a vulnerable child to me. 1303 01:23:42,500 --> 01:23:45,916 I don't think she was ever really in love in her life. 1304 01:23:47,625 --> 01:23:50,125 Nor ever knew what it was. 1305 01:23:52,291 --> 01:23:53,666 She just suffered. 1306 01:24:00,625 --> 01:24:03,416 [MEMRY MIDGETT]: 1307 01:24:46,666 --> 01:24:48,375 [JO JONES]: She went to hospital on the Sunday. 1308 01:24:49,541 --> 01:24:50,958 She knew she was dying. 1309 01:24:53,041 --> 01:24:54,250 That damn hospital. 1310 01:24:55,416 --> 01:24:58,458 They had her under arrest, this woman laying in bed. 1311 01:25:04,375 --> 01:25:06,291 [DOROTHY WINSTON]: But she did tell me one time 1312 01:25:06,375 --> 01:25:08,125 that if they ever arrested her again 1313 01:25:08,625 --> 01:25:10,583 that she couldn't go through that experience 1314 01:25:10,666 --> 01:25:11,875 and she'd rather be dead. 1315 01:25:18,625 --> 01:25:20,958 [JO JONES]: 1316 01:25:24,041 --> 01:25:26,000 No innovator was like her, nobody! 1317 01:25:31,166 --> 01:25:32,875 And all she wanted to do was sing. 1318 01:25:34,916 --> 01:25:36,583 She ain't bothering nobody. 1319 01:25:39,708 --> 01:25:42,125 Billie had a Cadillac and a mink, so what? 1320 01:25:44,208 --> 01:25:45,583 What's wrong with that? 1321 01:25:46,500 --> 01:25:48,333 Wasn't she entitled to have a Cadillac? 1322 01:25:48,458 --> 01:25:49,791 Wasn't she entitled to have her mink? 1323 01:25:50,125 --> 01:25:51,916 Wasn't she entitled to have diamonds? 1324 01:25:53,291 --> 01:25:55,000 "Oh, you ain't supposed to have that... 1325 01:25:55,875 --> 01:25:57,083 you're a negro! 1326 01:25:57,750 --> 01:25:59,500 Stay in your place, you know". 1327 01:26:03,333 --> 01:26:05,916 All y'all need to do is get some black-eyed peas and rice 1328 01:26:06,000 --> 01:26:07,458 and that's all ya'll need. 1329 01:26:09,583 --> 01:26:11,291 I'm talking about what we went through. 1330 01:26:13,833 --> 01:26:16,791 No vocalist had ever went through what she went through. 1331 01:26:20,583 --> 01:26:21,875 "Greatest country in the world". 1332 01:26:22,333 --> 01:26:25,916 The most stupid, most prejudiced, racial people... 1333 01:26:26,916 --> 01:26:28,166 even as of today. 1334 01:26:29,958 --> 01:26:31,166 [INDISTINCT SHOUTING] 1335 01:26:31,625 --> 01:26:33,208 I'm leaving, quick as I can. 1336 01:26:34,291 --> 01:26:36,416 I will not be a part of this farce. 1337 01:26:44,333 --> 01:26:45,750 July the 17th. 1338 01:26:47,041 --> 01:26:48,375 That's when she died. 1339 01:27:02,958 --> 01:27:05,250 I closed up Miss Billie Holiday's casket... 1340 01:27:06,666 --> 01:27:08,166 and put two flowers on it. 1341 01:27:25,958 --> 01:27:28,125 [INTERVIEWER]: And the question, Billie, that I was going to ask 1342 01:27:28,208 --> 01:27:33,208 was that why so many jazz greats seem to die so early? 1343 01:27:37,083 --> 01:27:39,416 [BILLIE]: The only way I can answer that question is... 1344 01:27:40,583 --> 01:27:43,291 we try to live one hundred days in one day. 1345 01:27:47,791 --> 01:27:50,875 I, myself, try to please so many people. 1346 01:27:54,125 --> 01:27:55,666 I guess we all suffer. 1347 01:28:25,333 --> 01:28:27,791 [WIND WHISTLES] 1348 01:28:34,833 --> 01:28:36,708 [MYRA LUFTMAN]: It was in the middle of the blizzard 1349 01:28:36,791 --> 01:28:38,000 of 1978. 1350 01:28:38,291 --> 01:28:40,416 Linda was going to Washington D.C. 1351 01:28:40,500 --> 01:28:42,250 for a Basie concert. 1352 01:28:45,583 --> 01:28:49,666 And, um, we received a phone call from my mother... 1353 01:28:50,833 --> 01:28:51,875 and... 1354 01:28:55,208 --> 01:28:57,750 she said you have to come home, Linda just died. 1355 01:29:01,208 --> 01:29:04,333 The police told my parents that she had committed suicide 1356 01:29:04,416 --> 01:29:05,791 and jumped out of the window 1357 01:29:06,250 --> 01:29:09,000 and we were just devastated. 1358 01:29:12,250 --> 01:29:13,291 And also... 1359 01:29:13,583 --> 01:29:15,458 yeah, unsure that that... 1360 01:29:16,333 --> 01:29:17,500 was how she died. 1361 01:29:20,541 --> 01:29:22,333 To our knowledge, there was no note. 1362 01:29:23,916 --> 01:29:26,250 She was a writer, and there never was a letter. 1363 01:29:30,958 --> 01:29:33,416 At the time, the Washington D.C. police 1364 01:29:33,500 --> 01:29:35,708 did not have a great reputation 1365 01:29:35,791 --> 01:29:39,333 for integrity, and we really questioned 1366 01:29:39,416 --> 01:29:43,000 how much they had actually investigated Linda's death. 1367 01:29:47,500 --> 01:29:49,208 My thought is that, uh... 1368 01:29:50,208 --> 01:29:51,458 somebody had pushed her. 1369 01:29:52,458 --> 01:29:53,500 Uh... 1370 01:29:54,208 --> 01:29:58,041 I have absolutely no evidence of it... 1371 01:29:59,458 --> 01:30:02,083 only what I know of Linda, and, um... 1372 01:30:03,291 --> 01:30:04,875 the surrounding situations. 1373 01:30:07,708 --> 01:30:11,416 When Linda died, it appeared that she had been getting ready 1374 01:30:11,500 --> 01:30:14,125 to go to sleep, because one of her rituals 1375 01:30:14,250 --> 01:30:15,833 was to put on a facemask. 1376 01:30:16,583 --> 01:30:19,291 When she was found, she had the facemask on. 1377 01:30:22,541 --> 01:30:24,875 [MUSIC: "I Loves You, Porgy" by George and Ira Gershwin] 1378 01:30:24,958 --> 01:30:28,416 ♪ I love you Porgy ♪ 1379 01:30:30,375 --> 01:30:33,291 ♪ Don't let him take me ♪ 1380 01:30:35,291 --> 01:30:37,750 ♪ Don't let him handle me ♪ 1381 01:30:39,583 --> 01:30:41,875 ♪ And drive me mad ♪ 1382 01:30:43,958 --> 01:30:46,250 ♪ If you can keep me ♪ 1383 01:30:47,916 --> 01:30:50,333 ♪ I wanna stay here ♪ 1384 01:30:52,083 --> 01:30:54,416 ♪ With you forever ♪ 1385 01:30:55,875 --> 01:30:58,625 ♪ I've got my man ♪ 1386 01:31:00,958 --> 01:31:02,458 [JIMMY ROWLES]: I just thank the Lord 1387 01:31:02,541 --> 01:31:04,291 that I did know this girl 1388 01:31:04,500 --> 01:31:05,875 when things were different. 1389 01:31:05,958 --> 01:31:08,500 [BILLIE]: ♪ I know he's coming ♪ 1390 01:31:08,875 --> 01:31:13,500 [JIMMY ROWLES]: And I would pray that she'd come back. 1391 01:31:14,166 --> 01:31:18,541 ♪ He's going to handle me and... ♪ 1392 01:31:19,041 --> 01:31:21,291 [JIMMY ROWLES]: Wouldn't that be nice, just one day? 1393 01:31:21,375 --> 01:31:23,083 ♪ ...told me so... ♪ 1394 01:31:23,166 --> 01:31:24,916 [JIMMY ROWLES]: But you had to get a good ticket 1395 01:31:25,000 --> 01:31:26,041 to get there. 1396 01:31:26,125 --> 01:31:29,333 ♪ It's going to be... ♪ 1397 01:31:30,625 --> 01:31:32,791 ♪ Like dying ♪ 1398 01:31:33,041 --> 01:31:34,958 [SYLVIA SYMS]: I can't cry about Billie now. 1399 01:31:35,125 --> 01:31:37,333 I don't even cry about her when I listen to her. 1400 01:31:38,625 --> 01:31:41,083 She makes me smile, even sadly. 1401 01:31:43,166 --> 01:31:45,458 And it's just too bad that it took all this time 1402 01:31:45,541 --> 01:31:47,791 for all of this shit to come up. 1403 01:31:48,541 --> 01:31:53,625 ♪ I'll have to go ♪ 1404 01:31:56,000 --> 01:32:00,500 ♪ I love you Porgy ♪ 1405 01:32:02,375 --> 01:32:05,375 ♪ Don't let him take me ♪ 1406 01:32:06,750 --> 01:32:09,833 ♪ Don't let him handle me ♪ 1407 01:32:11,750 --> 01:32:14,875 ♪ And drive me mad ♪ 1408 01:32:16,041 --> 01:32:18,416 ♪ If you can keep me ♪ 1409 01:32:20,208 --> 01:32:22,333 ♪ I've gotta stay here ♪ 1410 01:32:24,375 --> 01:32:27,541 ♪ With you forever ♪ 1411 01:32:29,625 --> 01:32:32,500 ♪ I've got my... ♪ 1412 01:32:33,625 --> 01:32:38,083 ♪ ...man ♪ 1413 01:32:41,125 --> 01:32:43,125 [APPLAUSE] 1414 01:32:54,708 --> 01:32:58,958 [MUSIC: "Funeral In New Orleans" by The Sonhouse All Stars] 99504