Strange Fruit

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"Strange Fruit"
Strange-Fruit-Commodore-1939.jpg
Single by Billie Holiday
B-side "Fine and Mellow"
Released1939
RecordedApril 20, 1939 [1]
Genre
Length3:02
Label Commodore
Songwriter(s) Abel Meeropol
Producer(s) Milt Gabler
Billie Holiday singles chronology
"I'm Gonna Lock My Heart"
(1938)
"Strange Fruit"
(1939)
"God Bless the Child"
(1942)
Official Audio
"Strange Fruit" on YouTube

"Strange Fruit" is a song written and composed by Abel Meeropol (under his pseudonym Lewis Allan) and recorded by Billie Holiday in 1939. The lyrics were drawn from a poem by Meeropol published in 1937. The song protests the lynching of Black Americans with lyrics that compare the victims to the fruit of trees. Such lynchings had reached a peak in the Southern United States at the turn of the 20th century and the great majority of victims were black. [2] :561 The song was described as "a declaration of war" and "the beginning of the civil rights movement" by Atlantic Records co-founder Ahmet Ertegun. [3] [4]

Contents

Meeropol set his lyrics to music with his wife Anne Shaffer and the singer Laura Duncan and performed it as a protest song in New York City venues in the late 1930s, including Madison Square Garden. Holiday's version was inducted into the Grammy Hall of Fame in 1978. [5] It was also included in the "Songs of the Century" list of the Recording Industry Association of America and the National Endowment for the Arts. [6] In 2002, "Strange Fruit" was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically or aesthetically significant". [7]

Poem and song

Meeropol cited this photograph of the lynching of Thomas Shipp and Abram Smith, August 7, 1930, as inspiring his poem. ThomasShippAbramSmith.jpg
Meeropol cited this photograph of the lynching of Thomas Shipp and Abram Smith, August 7, 1930, as inspiring his poem.

"Strange Fruit" originated as a protest poem against lynchings. [9] :25–27] [10] In the poem, Meeropol expressed his horror at lynchings of African Americans, inspired by Lawrence Beitler's photograph of the 1930 lynching of Thomas Shipp and Abram Smith in Marion, Indiana. [11]

Meeropol published the poem under the title "Bitter Fruit" in January 1937 in The New York Teacher, a union magazine of the New York teachers union. [12] [ page needed ] Though Meeropol had asked others (notably Earl Robinson) to set his poems to music, he set "Strange Fruit" to music himself. First performed by Meeropol's wife and their friends in social contexts, [13] his protest song gained a certain success in and around New York. Meeropol, Shaffer, and the Black vocalist Laura Duncan performed it at Madison Square Garden. [14] :36-37

Billie Holiday's performances and recordings

One version of events claims that Barney Josephson, the founder of Café Society in Greenwich Village, New York's first integrated nightclub, heard the song and introduced it to Billie Holiday. Other reports say that Robert Gordon, who was directing Holiday's show at Café Society, heard the song at Madison Square Garden and introduced it to her. [12] Holiday first performed the song at Café Society in 1939. She said that singing it made her fearful of retaliation but, because its imagery reminded her of her father, she continued to sing the piece, making it a regular part of her live performances. [14] :40–46 Because of the power of the song, Josephson drew up some rules: Holiday would close with it; the waiters would stop all service in advance; the room would be in darkness except for a spotlight on Holiday's face; and there would be no encore. [12] During the musical introduction to the song, Holiday stood with her eyes closed, as if she were evoking a prayer.

Cover versions

Cover versions of this song include Nina Simone, René Marie, Jeff Buckley, Siouxsie and the Banshees, Dee Dee Bridgewater, Josh White, UB40, Bettye LaVette, and Edward W. Hardy. [14] :24 [26] [27] [28] [29]

Simone recorded the song in 1965, [30] a recording described by journalist David Margolick in The New York Times as featuring a "plain and unsentimental voice". [27] René Marie's rendition was coupled with the Confederate anthem "Dixie", making for an "uncomfortable juxtaposition". [27] Journalist Lara Pellegrinelli wrote that Jeff Buckley while singing it "seems to meditate on the meaning of humanity the way Walt Whitman did, considering all of its glorious and horrifying possibilities". [27] LA Times noted that Siouxsie and the Banshees's version contained "a solemn string section behind the vocals" and "a bridge of New Orleans funeral-march jazz" which enhanced the singer's "evocative interpretation". [31] The group's rendition was selected by the Mojo staff to be included on the compilation Music Is Love: 15 Tracks That Changed the World. [32] [33]

Influence in other media

Awards and honors

Bibliography

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