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Lady Sings the Blues is the fiercely honest, no-holds-barred autobiography of Billie Holiday, the legendary jazz, swing, and standards singing sensation. Taking the reader on a fast-moving journey from Holiday’s rough-and-tumble Baltimore childhood (where she ran errands at a whorehouse in exchange for the chance to listen to Louis Armstrong and Bessie Smith albums), to her emergence on Harlem’s club scene, to sold-out performances with the Count Basie Orchestra and with Artie Shaw and his band, this revelatory memoir is notable for its trenchant observations on the racism that darkened Billie’s life and the heroin addiction that ended it too soon. We are with her during the mesmerizing debut of “Strange Fruit”; with her as she rubs shoulders with the biggest movie stars and musicians of the day (Bob Hope, Lana Turner, Clark Gable, Benny Goodman, Lester Young, Coleman Hawkins, and more); and with her through the scrapes with Jim Crow, spats with Sarah Vaughan, ignominious jailings, and tragic decline. All of this is told in Holiday’s tart, streetwise style and hip patois that makes it read as if it were written yesterday.

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我试着和他解释，这样做不是针对他一个人，我只是不想再和任何黑鬼上床了。

和白人常客相处倒是比较容易。他们一般都有老婆和孩子，干得也快，然后留下钱就离开了。但是和黑人干则是另一副样子。他们会折腾一晚上，还不停问你“我干得棒不棒，宝贝？”或是“你愿意做我的女人吗？”之类的蠢问题。

一定有很多人像我一样是在妓院第一次听到爵士乐。

就算你是个妓女，喜欢耍花招，你也不愿意被人强奸。这是一个女人所能碰到的最糟的事了。

我不是第一个，也不是最后一个用结婚来向别人证明什么的人。

曾经有人告诉我，没有人像我一样演唱“饥饿”、“爱”这样的词。可能是因为我明白这些词的全部意义。

在别人不停地教导你该他妈的如何做的时候，你得有东西吃，有人爱你，你才能坚持下去。在我的生命中，我想得到的无非就是这两样。

美国的黑人音乐家应该向这些欧洲的同行们脱帽致敬。对于像查理·帕克和我这样的音乐人来说，爵士乐就流淌在我们的血液里。而欧洲的这些音乐家，他们必须通过不断地听，不断地练习，付出辛苦的努力才能把爵士乐演奏好

书籍介绍

Lady Sings the Blues is the fiercely honest, no-holds-barred autobiography of Billie Holiday, the legendary jazz, swing, and standards singing sensation. Taking the reader on a fast-moving journey from Holiday’s rough-and-tumble Baltimore childhood (where she ran errands at a whorehouse in exchange for the chance to listen to Louis Armstrong and Bessie Smith albums), to her emergence on Harlem’s club scene, to sold-out performances with the Count Basie Orchestra and with Artie Shaw and his band, this revelatory memoir is notable for its trenchant observations on the racism that darkened Billie’s life and the heroin addiction that ended it too soon. We are with her during the mesmerizing debut of “Strange Fruit”; with her as she rubs shoulders with the biggest movie stars and musicians of the day (Bob Hope, Lana Turner, Clark Gable, Benny Goodman, Lester Young, Coleman Hawkins, and more); and with her through the scrapes with Jim Crow, spats with Sarah Vaughan, ignominious jailings, and tragic decline. All of this is told in Holiday’s tart, streetwise style and hip patois that makes it read as if it were written yesterday.