Author, performer will evoke jazz singer If any artist in history could have benefited from better public relations, Billie Holiday fits the bill. Maligned by the press and broadcast media during her lifetime, authors and film producers exploited her legacy after she drank herself to death in 1959 at age 44. To set the record straight about the beloved jazz singer, Paul Alexander, author of Bitter Crop: The Heartache and Triumph of Billie Holiday's Last Year, will read from his book and interview Mala Waldron, Holiday's goddaughter, at the Howland Cultural Center in Beacon on Sunday (June 28). Waldron will also sing while accompanying herself on piano. Local author Eva Salzman produced the event, titled Billie & Banter: Billie Holiday Songs and Stories. Waldron and Alexander teamed up for the first time after she appeared at a symposium in New York City about Holiday's life that Alexander organized in 2024 at Hunter College, where he teaches. "It bothered me that all of the biographies are filled with bogus facts," Alexander says. "She made it hard on historians by making up a lot of things about her past, but there's a larger false narrative out there." The project is part of a growing reclamation effort. Alexander points to a permanent public artwork commissioned by New York City — an "inspirational abstract image" that will be unveiled at the Jamaica Performing Arts Center in Queens, where Holiday lived for many years. After the singer added controversial material to her repertoire, such as the anti-lynching song "Strange Fruit" in 1939, and got hooked on heroin in the 1940s, local and federal law enforcement hounded her. While Holiday lay in her hospital deathbed, Bureau of Narcotics agents handcuffed her to the rail. Sometimes, tragedy turned into triumph: In 1948, less than two weeks after her early release from a year-and-a-day federal prison sentence, she sold out Carnegie Hall. "The media came after her, and the government came after her, and she lost her cabaret card," says Waldron, the daughter of Holiday's final pianist, Mal Waldron. Until 1967, performers needed a New York City Cabaret Identification Card to play in venues that served alcohol. "Billie got such harsh treatment because she was a Black woman with other stigmas," she says. Surrounded by musicians since her childhood, Waldron has lived the jazz life. She will bring a longtime collaborator, bassist Christopher Dean Sullivan, with her to the Howland. Because she was just a year old when Holiday — born Eleanora Fagan and known as "Lady Day" — died in 1959, Waldron's knowledge is secondhand. "I heard all these stories from my father and people who knew her," she says. Holiday co-wrote several jazz standards, Alexander notes, including "God Bless the Child" (with Arthur Herz), "Lady Sings the Blues" (Herbie Nichols) and "Left Alone" (Mal Waldron). On her own, she penned "Tell Me More and More," three blues songs and "Fine and Mellow," the B-side of "Strange Fruit." "She taught Frank Sinatra how to bend notes, and her voice — there's nothing like it in all of music," Alexander says. "Even Ariana Grande, the best imitator I've ever heard, can't copy her. Holiday introduced a vernacular, conversational style that changed the direction of American music." The Howland Cultural Center is located at 477 Main St. in Beacon. Tickets for Billie & Banter, which begins at 4 p.m., are $20 at dub.sh/billie-banter, or $25 at the door.