References :

Burns, L., and A. Woods (2004) 'Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem'. Music Theory Online 10/2.

             https://mtosmt.org/issues/mto.04.10.2/mto.04.10.2.burns_woods.html.

Davis, A. (1999) Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith and Billie Holiday. New York: Vintage.

Dufty, W. (1956) Lady Sings the Blues. London: Abacus.

Gray, H. (1988) Producing Jazz: The Experience of an Independent Record Company. Philadelphia: Temple University Press

Griffin, F. (2002) If You Can't Be Free, Be a Mystery: In Search of Billie Holiday. New York: Ballantine Books.

Huang, H., and R. Huang (2014) 'She Sang as She Spoke: Billie Holiday and Aspects of Speech Intonation and Diction'. Jazz Perspectives 7/3: 287-302. https://doi.org/10.1080/17494060.2014.903055

Szwed, J. (2015) Billie Holiday: The Musician and the Myth. New York: Penguin Books.