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Nina Simone Falling in Love Again (Cant Help It)

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American singer and songwriter (1933–2003)

Nina Simone
Simone in 1965

Simone in 1965
Background information
Nascence proper name Eunice Kathleen Waymon
Born (1933-02-21)February 21, 1933
Tryon, North Carolina, U.S.
Died April 21, 2003(2003-04-21) (aged 70)
Behave-le-Rouet, France
Genres
  • R&B
  • jazz
  • blues
  • folk
  • soul
  • classical
  • gospel
Occupation(s)
  • Vocalist
  • songwriter
  • musician
  • arranger
  • composer
  • activist
Years agile 1954–2002
Labels
  • Bethlehem
  • Colpix
  • Elektra
  • Philips
  • RCA Victor
  • CTI
  • Legacy
  • Verve
Website ninasimone.com

Musical artist

Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned styles including classical, jazz, blues, folk, R&B, gospel and pop.

The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist.[ane] With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City.[2] She then applied for a scholarship to report at the Curtis Found of Music in Philadelphia, where she was denied admission despite a well received audience,[iii] which she attributed to racism. In 2003, just days before her death, the Institute awarded her an honorary caste.[iv]

To brand a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to "Nina Simone" to disguise herself from family members, having chosen to play "the devil'due south music"[3] or and so-called "cocktail pianoforte". She was told in the nightclub that she would have to sing to her own accompaniment, which finer launched her career every bit a jazz vocalist.[5] She went on to record more than 40 albums between 1958 and 1974, making her debut with Piddling Girl Blue. She had a hit unmarried in the United States in 1958 with "I Loves Y'all, Porgy".[1] Her musical style fused gospel and popular with classical music, in particular Johann Sebastian Bach,[6] and accompanied expressive, jazz-like singing in her contralto vox.[7] [8]

Biography [edit]

1933–1954: Early life [edit]

Simone was born on February 21, 1933, in Tryon, North Carolina. The 6th of eight children[ix] in a poor family, she began playing piano at the age of three or four; the showtime vocal she learned was "God Be With You, Till Nosotros Meet Again".[10] Demonstrating a talent with the pianoforte, she performed at her local church. Her concert debut, a classical recital, was given when she was 12. Simone subsequently said that during this functioning, her parents, who had taken seats in the forepart row, were forced to move to the back of the hall to make manner for white people.[11] She said that she refused to play until her parents were moved back to the front,[12] [13] and that the incident contributed to her later involvement in the ceremonious rights motility.[xiv] Simone's mother, Mary Kate Waymon (née Irvin, November 20, 1901 – April 30, 2001),[xv] was a Methodist minister and a housemaid. Her father, Rev. John Devan Waymon (June 24, 1898 – October 23, 1972),[16] was a handyman who at one time endemic a dry-cleaning business concern, but also suffered bouts of ill wellness. Simone's music teacher helped establish a special fund to pay for her education.[17] Afterward, a local fund was ready to aid her connected pedagogy. With the help of this scholarship money, she was able to attend Allen High School for Girls in Asheville, North Carolina.

Later on her graduation, Simone spent the summer of 1950 at the Juilliard School every bit a student of Carl Friedberg, preparing for an audience at the Curtis Establish of Music in Philadelphia.[xviii] Her application, however, was denied. Just 3 of 72 applicants were accepted that year,[nineteen] but as her family had relocated to Philadelphia in the expectation of her entry to Curtis, the blow to her aspirations was especially heavy. For the rest of her life, she suspected that her awarding had been denied considering of racial prejudice, a charge the staff at Curtis have denied.[twenty] Discouraged, she took individual piano lessons with Vladimir Sokoloff, a professor at Curtis, but never could re-apply due to the fact that at the time the Curtis institute did not take students over 21. She took a job as a lensman'southward assistant, only also found work every bit an accompanist at Arlene Smith'south vocal studio and taught piano from her home in Philadelphia.[eighteen]

1954–1959: Early on success [edit]

In society to fund her private lessons, Simone performed at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, New Jersey, whose owner insisted that she sing as well equally play the piano, which increased her income to $90 a week. In 1954, she adopted the phase name "Nina Simone". "Nina", derived from niña, was a nickname given to her past a boyfriend named Chico,[xviii] and "Simone" was taken from the French actress Simone Signoret, whom she had seen in the 1952 moving picture Casque d'Or.[21] Knowing her female parent would not approve of playing "the Devil's music", she used her new stage name to remain undetected. Simone's mixture of jazz, blues, and classical music in her performances at the bar earned her a small but loyal fan base.[22]

In 1958, she befriended and married Don Ross, a beatnik who worked every bit a fairground barker, just quickly regretted their spousal relationship.[23] Playing in small-scale clubs in the same twelvemonth, she recorded George Gershwin'southward "I Loves You lot, Porgy" (from Porgy and Bess), which she learned from a Billie Holiday album and performed as a favor to a friend. It became her only Billboard acme 20 success in the United States, and her debut anthology Picayune Girl Blue followed in February 1959 on Bethlehem Records.[24] [25] [26] Because she had sold her rights outright for $three,000, Simone lost more than $one million in royalties (notably for the 1980s re-release of her version of the jazz standard "My Baby Simply Cares for Me") and never benefited financially from the album'due south sales.[27]

1959–1964: Burgeoning popularity [edit]

After the success of Piffling Girl Bluish, Simone signed a contract with Colpix Records and recorded a multitude of studio and live albums. Colpix relinquished all creative control to her, including the pick of material that would exist recorded, in exchange for her signing the contract with them. Later on the release of her live album Nina Simone at Town Hall, Simone became a favorite performer in Greenwich Hamlet.[28] By this fourth dimension, Simone performed pop music simply to make money to keep her classical music studies, and was indifferent about having a recording contract. She kept this attitude toward the record industry for about of her career.[29]

Simone married a New York police detective, Drew Stroud, in December 1961. In a few years he became her managing director and the father of her girl Lisa, but later he abused Simone psychologically and physically.[3] [30] [31]

1964–1974: Civil Rights era [edit]

In 1964, Simone inverse tape distributors from Colpix, an American company, to the Dutch Philips Records, which meant a change in the content of her recordings. She had e'er included songs in her repertoire that drew on her African-American heritage, such as "Brown Baby" by Oscar Brown and "Zungo" by Michael Olatunji on her anthology Nina at the Village Gate in 1962. On her debut album for Philips, Nina Simone in Concert (1964), for the kickoff time she addressed racial inequality in the Us in the song "Mississippi Goddam". This was her response to the June 12, 1963, murder of Medgar Evers and the September 15, 1963, bombing of the 16th Street Baptist Church in Birmingham, Alabama, that killed iv young black girls and partly blinded a 5th. She said that the song was "like throwing x bullets back at them", becoming 1 of many other protestation songs written by Simone. The song was released equally a single, and it was boycotted in some[ vague ] southern states.[32] [33] Promotional copies were smashed by a Carolina radio station and returned to Philips.[34] She later recalled how "Mississippi Goddam" was her "first ceremonious rights song" and that the song came to her "in a rush of fury, hatred and determination". The song challenged the belief that race relations could change gradually and chosen for more immediate developments: "me and my people are just about due". Information technology was a key moment in her path to Civil Rights activism.[35] "Old Jim Crow", on the same anthology, addressed the Jim Crow laws. Afterwards "Mississippi Goddam", a civil rights message was the norm in Simone'due south recordings and became part of her concerts. As her political activism rose, the rate of release of her music slowed.

Simone performed and spoke at ceremonious rights meetings, such every bit at the Selma to Montgomery marches.[36] Similar Malcolm X, her neighbor in Mount Vernon, New York, she supported black nationalism and advocated violent revolution rather than Martin Luther King Jr.'s non-violent approach.[37] She hoped that African Americans could employ armed combat to course a separate land, though she wrote in her autobiography that she and her family regarded all races every bit equal.

In 1967, Simone moved from Philips to RCA Victor. She sang "Backlash Dejection" written by her friend, Harlem Renaissance leader Langston Hughes, on her first RCA album, Nina Simone Sings the Blues (1967). On Silk & Soul (1967), she recorded Billy Taylor'southward "I Wish I Knew How It Would Feel to Exist Gratis" and "Turning Point". The anthology 'Nuff Said! (1968) contained alive recordings from the Westbury Music Off-white of April 7, 1968, three days after the assassination of Martin Luther Male monarch Jr. She dedicated the functioning to him and sang "Why? (The King of Honey Is Dead)", a vocal written by her bass thespian, Gene Taylor.[38] In 1969, she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park, immortalized in Questlove'due south 2022 documentary Summer of Soul.[39] [40]

Simone and Weldon Irvine turned the unfinished play To Be Immature, Gifted and Blackness by Lorraine Hansberry into a civil rights song of the same name. She credited her friend Hansberry with cultivating her social and political consciousness. She performed the song live on the anthology Black Gold (1970). A studio recording was released every bit a single, and renditions of the vocal have been recorded past Aretha Franklin (on her 1972 album Young, Gifted and Blackness) and Donny Hathaway.[32] When reflecting on this period, she wrote in her autobiography, "I felt more than live so than I experience at present considering I was needed, and I could sing something to help my people".[41]

1974–1993: Later life [edit]

In an interview for Jet magazine, Simone stated that her controversial song "Mississippi Goddam" harmed her career. She claimed that the music industry punished her by boycotting her records.[42] Injure and disappointed, Simone left the United states of america in September 1970, flying to Barbados and expecting her married man and manager (Andrew Stroud) to communicate with her when she had to perform once more. However, Stroud interpreted Simone's sudden disappearance, and the fact that she had left behind her nuptials band, equally an indication of her desire for a divorce. As her managing director, Stroud was in charge of Simone'south income.

Simone at a concert in Morlaix, France, May 1982

When Simone returned to the United States, she learned that a warrant had been issued for her arrest for unpaid taxes (unpaid every bit a protestation confronting her country's interest with the Vietnam War), and returned to Barbados to evade the regime and prosecution.[43] Simone stayed in Barbados for quite some time, and had a lengthy affair with the Prime Minister, Errol Barrow.[44] [45] A close friend, singer Miriam Makeba, then persuaded her to go to Liberia. When Simone relocated, she abandoned her daughter Lisa in Mountain Vernon.[46] Lisa somewhen reunited with Simone in Liberia, but, co-ordinate to Lisa, her mother was physically and mentally abusive.[47] The abuse was so unbearable that Lisa became suicidal and she moved back to New York to live with her father Andrew Stroud.[46] [47] Simone recorded her last anthology for RCA, It Is Finished, in 1974, and did not brand some other record until 1978, when she was persuaded to go into the recording studio by CTI Records possessor Creed Taylor. The effect was the album Baltimore, which, while not a commercial success, was fairly well received critically and marked a quiet artistic renaissance in Simone's recording output.[48] Her pick of material retained its eclecticism, ranging from spiritual songs to Hall & Oates' "Rich Girl". Four years later, Simone recorded Forage on My Wings on a French label, Studio Davout.

During the 1980s, Simone performed regularly at Ronnie Scott's Jazz Club in London, where she recorded the album Live at Ronnie Scott's in 1984. Although her early on-phase style could be somewhat haughty and aloof, in later years, Simone particularly seemed to enjoy engaging with her audiences sometimes, by recounting humorous anecdotes related to her career and music and by soliciting requests.[ citation needed ] By this fourth dimension she stayed everywhere and nowhere. She lived in Republic of liberia, Barbados and Switzerland and eventually ended up in Paris. In that location she regularly performed in a small jazz club called Aux Trois Mailletz for relatively small fiscal reward. The performances were sometimes brilliant and at other times Nina Simone gave upward after 15 minutes. Oftentimes she was too drunkard to sing or play the piano properly. At other times she scolded the audience. The terminate of Nina Simone seemed in sight.[49] Manager Raymond Gonzalez, guitarist Al Schackman and Gerrit de Bruin, a Dutch friend of hers, decided to intervene.

Hotel Belvoir Nijmegen, Netherlands. Apartment of Nina Simone was next to this building betwixt 1988 and 1991

Simone moved to Nijmegen in the Netherlands in the spring of 1988. She had just scored a huge European hit with the song "My Infant Just Cares for Me". Recorded by her for the showtime time in 1958, the song was used in a commercial for Chanel No. 5 perfume in Europe, leading to a re-release of the recording. This stormed to number four on the UK'due south NME singles chart, giving Simone a brief surge in popularity in the Britain and elsewhere.[49]

In 1988 she bought an apartment next to the Belvoir Hotel with view of the Waalbrug and Ooijpolder, with the help of her friend Gerrit de Bruin, who lived with his family a few corners abroad and kept an eye on her. The thought was to bring Simone to Nijmegen to relax and get dorsum on runway. A daily caretaker, Jackie Hammond from London, was hired for her. She was known for her atmosphere and outbursts of aggression. Unfortunately, the tantrums followed her to Nijmegen. Simone was diagnosed with bipolar disorder past a friend of De Bruin, who prescribed Trilafon for her. Despite the miserable disease, it was generally a happy time for Simone in Nijmegen, where she could lead a fairly anonymous life. But a few recognized her, merely nearly Nijmegen people did non know who she was. Slowly merely surely her life started to improve, and she was fifty-fifty able to make money from the Chanel commercial afterwards a legal battle. In 1991 Nina Simone exchanged Nijmegen for the more than lively Amsterdam, where she lived for two years with friends and Hammond.[50] [51]

1993–2003: Final years, illness and expiry [edit]

In 1993, Simone settled near Aix-en-Provence in southern France (Bouches-du-Rhône).[52] In the same yr, her final album, A Unmarried Adult female, was released. She variously contended that she married or had a love affair with a Tunisian around this time, simply that their relationship ended because, "His family didn't want him to move to France, and France didn't want him because he's a North African."[53] During a 1998 performance in Newark, she announced, "If yous're going to come see me once again, you've got to come up to France, considering I am non coming back."[54] She suffered from breast cancer for several years before she died in her sleep at her home in Comport-le-Rouet (Bouches-du-Rhône), on Apr 21, 2003. Her Catholic funeral service at the local parish was attended past singers Miriam Makeba and Patti LaBelle, poet Sonia Sanchez, actors Ossie Davis and Ruby-red Dee, and hundreds of others. Simone's ashes were scattered in several African countries. Her girl Lisa Celeste Stroud is an extra and singer who took the stage name Simone, and who has appeared on Broadway in Aida.[55]

Activism [edit]

Influence [edit]

Simone'south consciousness on the racial and social discourse was prompted past her friendship with black playwright Lorraine Hansberry.[56] Simone stated that during her conversations with Hansberry "nosotros never talked about men or clothes. It was always Marx, Lenin and revolution – real girls' talk".[57] The influence of Hansberry planted the seed for the provocative social commentary that became an expectation in Simone'southward repertoire. One of Nina's more hopeful activism anthems, "To Be Young, Gifted and Blackness", was written with collaborator Weldon Irvine in the years following the playwright'due south passing, acquiring the title of ane of Hansberry's unpublished plays. Simone's social circles included notable black leftists such as James Baldwin, Stokely Carmichael and Langston Hughes: the lyrics of her song "Backfire Blues" were written by the latter.[57]

Beyond the civil rights movement [edit]

Simone's social commentary was not limited to the ceremonious rights movement; the song "Four Women" exposed the eurocentric appearance standards imposed on blackness women in America,[58] as information technology explored the internalized dilemma of dazzler that is experienced between four blackness women with skin tones ranging from light to nighttime. She explains in her autobiography I Put a Spell on You lot that the purpose of the song was to inspire black women to define beauty and identity for themselves without the influence of societal impositions.[59] Chardine Taylor-Stone has noted that, beyond the politics of beauty, the song also describes the stereotypical roles that many blackness women have historically been restricted to: the mammy, the tragic mulatto, the sex activity worker and the angry blackness adult female.[57]

Artistry [edit]

Simone standards [edit]

Throughout her career, Simone assembled a collection of songs that became standards in her repertoire. Some were songs that she wrote herself, while others were new arrangements of other standards, and others had been written especially for the singer. Her first hit song in America was her rendition of George Gershwin's "I Loves You, Porgy" (1958). It peaked at number 18 on the Billboard magazine Hot 100 nautical chart.[sixty]

During that aforementioned menses Simone recorded "My Baby Just Cares for Me", which would become her biggest success years later, in 1987, after it was featured in a 1986 Chanel No. v perfume commercial.[61] A music video was also created past Aardman Studios.[62] Well-known songs from her Philips albums include "Don't Let Me Exist Misunderstood" on Broadway-Blues-Ballads (1964); "I Put a Spell on You lot", "Ne me quitte pas" (a rendition of a Jacques Brel song), and "Feeling Good" on I Put a Spell On You lot (1965); and "Lilac Wine" and "Wild Is the Wind" on Wild is the Wind (1966).[63]

"Don't Let Me Exist Misunderstood" and her takes on "Feeling Good" and "Sinnerman" (Pastel Blues, 1965) have remained pop in cover versions (most notably a version of the old vocal past The Animals), sample usage, and their use on soundtracks for various movies, tv serial, and video games. "Sinnerman" has been featured in the films The Cherry Pirate (1952), The Thomas Crown Affair (1999), High Crimes (2002), Cellular (2004), Déjà Vu (2006), Miami Vice (2006), Golden Door (2006), Inland Empire (2006), and Harriet (2019), as well as in TV series such every bit Homicide: Life on the Street (1998, "Sins of the Begetter"), Nash Bridges (2000, "Jackpot"), Scrubs (2001, "My Own Personal Jesus"), Boomtown (2003, "The Large Movie"), Person of Interest (2011, "Witness"), Shameless (2011, "Kidnap and Ransom"), Honey/Hate (2011, "Episode one"), Sherlock (2012, "The Reichenbach Autumn"), The Blacklist (2013, "The Freelancer"), Vinyl (2016, "The Noise"), Lucifer (2017, "Favorite Son"), and The Umbrella Academy (2019, "Actress Ordinary"), and sampled by artists such equally Talib Kweli (2003, "Get By"), Timbaland (2007, "Oh Timbaland"), and Flying Lotus (2012, "Until the Quiet Comes"). The song "Don't Permit Me Be Misunderstood" was sampled by Devo Springsteen on "Misunderstood" from Common's 2007 album Finding Forever, and by fiddling-known producers Rodnae and Mousa for the song "Don't Go It" on Lil Wayne's 2008 album Tha Carter Iii. "Encounter-Line Woman" was sampled by Kanye West for "Bad News" on his album 808s & Heartbreak. The 1965 rendition of "Foreign Fruit", originally recorded by Billie Holiday, was sampled past Kanye W for "Claret on the Leaves" on his album Yeezus.

Simone's years at RCA-Victor spawned many singles and album tracks that were pop, particularly in Europe. In 1968, it was "Own't Got No, I Got Life", a medley from the musical Hair from the album 'Nuff Said! (1968) that became a surprise striking for Simone, reaching number ii on the Great britain Singles Nautical chart and introducing her to a younger audience.[64] [65] In 2006, it returned to the UK Top 30 in a remixed version by Groovefinder.

The following single, a rendition of the Bee Gees' "To Love Somebody", also reached the Uk Top x in 1969. "The House of the Rising Sun" was featured on Nina Simone Sings the Blues in 1967, only Simone had recorded the song in 1961 and information technology was featured on Nina at the Village Gate (1962).[66] [67]

Functioning manner [edit]

Simone'south bearing and stage presence earned her the title "the High Priestess of Soul".[68] She was a pianist, vocalizer and performer, "separately, and simultaneously."[30] Equally a composer and arranger, Simone moved from gospel to dejection, jazz, and folk, and to numbers with European classical styling. Besides using Bach-style counterpoint, she chosen upon the detail virtuosity of the 19th-century Romantic pianoforte repertoire—Chopin, Liszt, Rachmaninoff, and others. Jazz trumpeter Miles Davis spoke highly of Simone, securely impressed by her ability to play three-part counterpoint (her two hands on the pianoforte and her voice each providing a divide but complementary melody line).[20] Onstage, she incorporated monologues and dialogues with the audition into the plan, and often used silence as a musical element.[69] Throughout most of her life and recording career she was accompanied by percussionist Leopoldo Fleming and guitarist and musical manager Al Schackman.[70] She was known to pay shut attending to the design and acoustics of each venue, tailoring her performances to individual venues.[20]

Simone was perceived as a sometimes difficult or unpredictable performer, occasionally hectoring the audition if she felt they were disrespectful. Schackman would try to calm Simone during these episodes, performing solo until she calmed offstage and returned to stop the engagement. Her early on experiences as a classical pianist had conditioned Simone to look tranquility attentive audiences, and her acrimony tended to flare up at nightclubs, lounges, or other locations where patrons were less attentive.[xx] Schackman described her live appearances equally striking or miss, either reaching heights of hypnotic brilliance or on the other manus mechanically playing a few songs and then abruptly ending concerts early.

Critical reputation [edit]

Simone is regarded as one of the near influential recording artists of 20th-century jazz, cabaret and R&B genres.[71] Co-ordinate to Rickey Vincent, she was a pioneering musician whose career was characterized by "fits of outrage and improvisational genius". Pointing to her composition of "Mississippi Goddam", Vincent said Simone broke the mold, having the courage as "an established black musical entertainer to break from the norms of the manufacture and produce direct social commentary in her music during the early 1960s".[72]

In naming Simone the 29th-greatest vocalist of all time, Rolling Rock wrote that "her honey-coated, slightly adenoidal cry was i of the most affecting voices of the civil rights movement", while making note of her ability to "belt barroom blues, croon cabaret and explore jazz — sometimes all on a single record."[73] In the opinion of AllMusic's Mark Deming, she was "ane of the nigh gifted vocalists of her generation, and also one of the most eclectic".[74] Creed Taylor, who annotated the liner notes for Simone'southward 1978 Baltimore anthology, said the vocalist possessed a "magnificent intensity" that "turns everything—even the nearly uncomplicated, mundane phrase or lyric—into a radiant, poetic message".[75] Jim Fusilli, music critic for The Wall Street Journal, writes that Simone's music is nonetheless relevant today: "it didn't adhere to ephemeral trends, it isn't a relic of a bygone era; her song delivery and technical skills equally a pianist still dazzle; and her emotional performances have a visceral impact."[76]

"She is loved or feared, adored or disliked", Maya Angelou wrote in 1970, "simply few who accept met her music or glimpsed her soul react with moderation".[77] Robert Christgau, who disliked Simone, wrote that her "penchant for the mundane renders her intensity equally artificial as her mannered melismas and pronunciation (move over, Inspector Clouseau) and the rote flatting of her song improvisations."[75] Regarding her piano playing, he dismissed Simone equally a "middlebrow keyboard tickler ... whose histrionic rolls insert unconvincing emotion into a song".[78] He later on attributed his more often than not negative appraisement to Simone'due south consistent seriousness of manner, depressive tendencies, and classical groundwork.[79]

Mental health [edit]

Simone was diagnosed with bipolar disorder in the late 1980s.[80] She was known for her atmosphere and outbursts of aggression.[81] In 1985, Simone fired a gun at a tape company executive, whom she accused of stealing royalties. Simone said she "tried to impale him" but "missed".[82] In 1995 while living in France, she shot and wounded her neighbor's son with an air gun after the boy's laughter disturbed her concentration and she perceived his response to her complaints as racial insults;[83] [84] she was sentenced to viii months in jail, which was suspended pending a psychiatric evaluation and treatment.[20]

Co-ordinate to a biographer, Simone took medication from the mid-1960s onward, although this was supposedly only known to a small grouping of intimates.[85] After her death the medication was confirmed as the anti-psychotic Trilafon, which Simone'southward friends and caretakers sometimes surreptitiously mixed into her food when she refused to follow her handling plan.[20] This fact was kept out of public view until 2004 when a biography, Break Down and Let It All Out, written by Sylvia Hampton and David Nathan (of her UK fan lodge), was published posthumously.[86] Vocalizer-songwriter Janis Ian, a 1-fourth dimension friend of Simone's, related in her ain autobiography, Club's Child: My Autobiography, two instances to illustrate Simone'southward volatility: one incident in which she forced a shoe store cashier at gunpoint to take back a pair of sandals she'd already worn; and another in which Simone demanded a royalty payment from Ian herself as an exchange for having recorded one of Ian's songs, and then ripped a pay telephone out of its wall when she was refused.[87]

Awards and recognition [edit]

Simone was the recipient of a Grammy Hall of Fame Award in 2000 for her interpretation of "I Loves You, Porgy." On Human being Kindness Day 1974 in Washington, D.C., more than 10,000 people paid tribute to Simone.[88] [89] Simone received two honorary degrees in music and humanities, from Amherst College and Malcolm X Higher.[90] [91] She preferred to exist called "Dr. Nina Simone" after these honors were bestowed upon her.[92] She was inducted into the Rock and Ringlet Hall of Fame in 2018.[93]

2 days before her death, Simone learned she would exist awarded an honorary degree by the Curtis Institute of Music, the music school that had refused to admit her as a student at the outset of her career.[4]

Simone has received four career Grammy Honor nominations,[94] two during her lifetime and two posthumously. In 1968, she received her first nomination for Best Female R&B Vocal Performance for the rail "(You'll) Go to Hell" from her thirteenth anthology Silk & Soul (1967). The honour went to "Respect" by Aretha Franklin.

Simone garnered a second nomination in the category in 1971, for her Black Gilt anthology, when she once again lost to Franklin for "Don't Play That Song (You Lied)". Franklin would again win for her cover of Simone's "Immature, Gifted and Black" two years later on in the same category. In 2016, Simone posthumously received a nomination for All-time Music Film for the Netflix documentary What Happened, Miss Simone? and in 2022 she received a nomination for Best Rap Song as a songwriter for Jay-Z's "The Story of O.J." from his iv:44 album which contained a sample of "4 Women" by Simone.

In 2018, Simone was inducted into the Stone and Coil Hall of Fame[95] by fellow R&B creative person Mary J. Blige.[96]

In 2019, "Mississippi Goddam" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically pregnant".[97]

Legacy and influence [edit]

Music [edit]

Musicians who have cited Simone equally important for their ain musical upbringing include Elton John (who named one of his pianos later her), Madonna, Aretha Franklin, Adele, David Bowie, Patti LaBelle, Boy George, Emeli Sandé, Antony and the Johnsons, Dianne Reeves, Sade, Janis Joplin, Nick Cavern, Van Morrison, Christina Aguilera, Elkie Brooks, Talib Kweli, Mos Def, Kanye West, Lena Horne, Bono, John Legend, Elizabeth Fraser, Cat Stevens, Anna Calvi, True cat Ability, Lykke Li, Peter Gabriel, Justin Hayward, Maynard James Keenan, Cedric Bixler-Zavala, Mary J. Blige, Fantasia Barrino, Michael Gira, Angela McCluskey, Lauryn Hill, Patrice Babatunde, Alicia Keys, Alex Turner, Lana Del Rey, Hozier, Matt Bellamy, Ian MacKaye, Kerry Brothers, Jr., Krucial, Amanda Palmer, Steve Adey and Jeff Buckley.[32] [98] [99] [100] [101] [102] John Lennon cited Simone's version of "I Put a Spell on You" equally a source of inspiration for the Beatles' song "Michelle".[102] American singer Meshell Ndegeocello released her own tribute album Pour une Âme Souveraine: A Dedication to Nina Simone in 2012. The post-obit year, experimental band Xiu Xiu released a comprehend anthology, Nina. In late 2019, American rapper Wale released an anthology titled Wow... That'south Crazy, containing a rail chosen "Beloved Me Nina/Semiautomatic" which contains audio clips from Simone.

Simone'south music has been featured in soundtracks of various motion pictures and video games, including La Femme Nikita (1990), Bespeak of No Return (1993), Shallow Grave (1994), The Big Lebowski (1998), Whatsoever Given Sunday (1999), The Thomas Crown Thing (1999), Disappearing Acts (2000), 6 Feet Under (2001), The Dancer Upstairs (2002), Before Dusk (2004), Cellular (2004), Inland Empire (2006), Miami Vice (2006), Sex activity and the City (2008), The World Unseen (2008), Revolutionary Route (2008), Domicile (2008), Watchmen (2009), The Saboteur (2009), Repo Men (2010), Beyond the Lights (2014), and "Nobody" (2021). Frequently her music is used in remixes, commercials, and Tv set series including "Feeling Good", which featured prominently in the Season Four Promo of 6 Feet Nether (2004). Simone's "Accept Care of Business" is the closing theme of The Man from U.North.C.Fifty.E. (2015), Simone's embrace of Janis Ian'due south "Stars" is played during the concluding moments of the season 3 finale of BoJack Horseman (2016), and "I Wish I Knew How It Would Experience to Be Free" and "Don't Let Me Be Misunderstood" were included in the film Anger (2018).

Moving picture [edit]

The documentary Nina Simone: La légende (The Legend) was made in the 1990s by French filmmakers and based on her autobiography I Put a Spell on You. Information technology features live footage from different periods of her career, interviews with family, various interviews with Simone then living in kingdom of the netherlands, and while on a trip to her birthplace. A portion of footage from The Fable was taken from an earlier 26-minute biographical documentary by Peter Rodis, released in 1969 and entitled simply Nina. Her filmed 1976 performance at the Montreux Jazz Festival is bachelor on video courtesy of Hawkeye Stone Entertainment and is screened annually in New York Metropolis at an issue called "The Rise and Autumn of Nina Simone: Montreux, 1976" which is curated by Tom Edgeless.[103]

Footage of Simone singing "Mississippi Goddam" for xl,000 marchers at the end of the Selma to Montgomery marches can be seen in the 1970 documentary King: A Filmed Tape... Montgomery to Memphis and the 2022 Liz Garbus documentary What Happened, Miss Simone? [3]

Plans for a Simone biographical film were released at the end of 2005, to be based on Simone'south autobiography I Put a Spell on You (1992) and to focus on her relationship in later on life with her banana, Clifton Henderson, who died in 2006; Simone's girl, Lisa Simone Kelly, has since refuted the existence of a romantic relationship between Simone and Henderson on business relationship of his homosexuality.[104] Cynthia Mort (screenwriter of Volition & Grace and Roseanne), wrote the screenplay and directed the 2022 flick Nina, starring Zoe Saldana who has since openly apologized for taking the controversial title office.[105] [106] [107] [108]

In 2015, two documentary features about Simone's life and music were released. The first, directed past Liz Garbus, What Happened, Miss Simone? was produced in cooperation with Simone'south manor and her daughter, who also served equally the film's executive producer. The motion picture was produced equally a counterpoint to the unauthorized Cynthia Mort flick (Nina, 2016), and featured previously unreleased archival footage. It premiered at the Sundance Motion picture Festival in Jan 2022 and was distributed by Netflix on June 26, 2015.[109] It was nominated on January 14, 2016, for a 2022 Academy Award for Best Documentary Characteristic.[110]

The second documentary in 2015, The Amazing Nina Simone is an contained film written and directed by Jeff L. Lieberman, who initially consulted with Simone's daughter, Lisa earlier going the independent road and then worked closely with Simone's siblings, predominantly Sam Waymon.[111] [112] The film debuted in cinemas in Oct 2015, and has since played more than 100 theatres in 10 countries.[113]

Drama [edit]

She is the subject of Nina: A Story Nigh Me and Nina Simone, a i-adult female show first performed in 2022 at the Unity Theatre, Liverpool — a "deeply personal and often searing testify inspired past the vocalizer and activist Nina Simone"[114] — and which in July 2022 ran at the Young Vic, before beingness scheduled to move to Edinburgh'south Traverse Theatre.[115]

Books [edit]

As well every bit her 1992 autobiography I Put a Spell on You (1992), written with Stephen Cleary, Simone has been the subject field of several books. They include Nina Simone: Don't Allow Me Exist Misunderstood (2002) by Richard Williams; Nina Simone: Break Down and Let It All Out (2004) by Sylvia Hampton and David Nathan; Princess Noire (2010) by Nadine Cohodas; Nina Simone (2004) by Kerry Acker; Nina Simone, Black is the Color (2005) by Andrew Stroud; and What Happened, Miss Simone? (2016) by Alan Light.

Simone inspired a book of poesy, Me and Nina, by Monica Hand,[116] and is the focus of musician Warren Ellis's book Nina Simone'south Gum (2021).[117]

Honors [edit]

Nina Simonestraat in Nijmegen, Netherlands

In 2002, the city of Nijmegen, Netherlands, named a street later her, as "Nina Simone Street": she had lived in Nijmegen between 1988 and 1990. On August 29, 2005, the city of Nijmegen, the De Vereeniging concert hall, and more than than 50 artists (among whom were Frank Boeijen, Rood Adeo, and Fay Claassen)[118] honored Simone with the tribute concert Greetings from Nijmegen.

Simone was inducted into the North Carolina Music Hall of Fame in 2009.[119]

In 2010, a statue in her honour was erected on Trade Street in her native Tryon, North Carolina.[120]

The promotion from the French Institute of Political Studies of Lille (Sciences Po Lille), due to obtain their chief'due south degree in 2021, named themselves in her accolade. The determination was made that this promotion was henceforth to exist known equally 'la promotion Nina Simone' after a vote in 2017.[121]

Simone was inducted into the Rock and Coil Hall of Fame in 2018.[122]

The Proms paid a homage to Nina Simone in 2019, an outcome called Mississippi Goddamn was performed by The Metropole Orkest at Royal Albert Hall led past Jules Buckley. Ledisi, Lisa Fischer and Jazz Trio, LaSharVu provided vocals.[123] [124]

Discography [edit]

References [edit]

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  2. ^ "Encyclopedia of Jazz Musicians – Nina Simone (Eunice Kathleen Waymon)". Jazz.com. Archived from the original on March 22, 2016. Retrieved October 28, 2013.
  3. ^ a b c d Liz Garbus, 2022 documentary film, What Happened, Miss Simone?
  4. ^ a b "The Nina Simone Foundation". Archived from the original on June 19, 2008. Retrieved December seven, 2006.
  5. ^ Pierpont, Claudia Roth (Baronial 6, 2014). "A Raised Voice: How Nina Simone turned the movement into music". The New Yorker. Archived from the original on August 6, 2014. Retrieved August 6, 2014.
  6. ^ Simone & Cleary 2003, p. 23.
  7. ^ Simone & Cleary 2003, p. 91.
  8. ^ Simone & Cleary 2003, pp. 17–19
  9. ^ Cohodas 2010, p. 5
  10. ^ Cohodas 2010, p. 16
  11. ^ Cohodas 2010, p. 37
  12. ^ Simone & Cleary 2003, p. 26.
  13. ^ Hampton 2004, p. fifteen.
  14. ^ Shatz, Adam (March ten, 2016). "The Fierce Backbone of Nina Simone". The New York Review of Books . Retrieved February 7, 2018.
  15. ^ "Mary Kate Irvin Waymon". Notice a Grave . Retrieved February 7, 2018.
  16. ^ "Rev John Devan Waymon (1898-1972)". Discover a Grave. Retrieved February seven, 2018.
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  18. ^ a b c Light, Alan. "Episode 3, What Happened, Miss Simone?, Book of the Week - BBC Radio four". BBC . Retrieved March nine, 2017.
  19. ^ Peter Dobrin (August sixteen, 2015). "Curtis Institute and the case of Nina Simone". The Philadelphia Inquirer. Archived from the original on August 13, 2017.
  20. ^ a b c d eastward f Alan Calorie-free (2016). What Happened, Miss Simone? A Biography. Crown Archetype, ISBN 978-ane-101-90487-9
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      Relevant remarks:
      Bardin: "You've been married and divorced and had many romances. Do yous nonetheless get effectually?"
      Simone: "I had an intense beloved thing with a Tunisian boy final year, but I don't recall I desire to get involved for a long time once more because he opened me upwards like a volcano, and it almost put me under."
    • Hotel Carlton, Tunis (June two, 2018). "#hotelcarltontunis". Instagram . Retrieved March 4, 2020. Nina Simone at the Carlton. Information technology was in 1994, Nina Simone had fallen in love with a Tunisian boy and spent a lot of time in Tunis, including the Carlton! The story ended desperately and Nina told the press, 'I will never fall in love again.'
    • Hunter, Kim D. (2003). "Nina Simone: And She Meant Every Word of It!". Solidarity . Retrieved March 4, 2020. In her late sixties, she claimed to have a 'volcanic' beloved affair with a young Tunisian.
    • Archived at Ghostarchive and the Wayback Machine: Sebastian, Tim (1999). Nina Simone on BBC HARDtalk. Event occurs at 4:45. Retrieved March 4, 2020.
      Relevant remarks:
      Sebastian: "You've been married earlier."
      Simone: "I've been married twice."
      Sebastian: "Take yous been unlucky at dear?"
      Simone: "Yeah—unlucky at marriages. Not so unlucky at beloved."
      Sebastian: "Lots of love, few marriages?"
      Simone: "Yes, two marriages."
      Sebastian: "Why didn't they work out?"
      Simone: "The music got in the manner in the one where I married the cop from the United States [Andrew Stroud]. The music got in the way, and he treated me like a horse. You know, a nonstop workaholic equus caballus. And the ane in Tunisia—well, that was very hot, like a volcano. And his family didn't want him to motion to France, and French republic didn't desire him considering he's a N African."
      Sebastian: "And the volcano didn't last?"
      Simone: "No, only it lasted long enough for me to never forget it, I'll tell you that."
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  117. ^ Ellis, Warren (2021). Nina Simone's Mucilage: A Memoir of Things Lost and Found. Faber & Faber. ISBN978-0571365623.
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Sources [edit]

  • Acker, Kerry (2004). Nina Simone. Introduction past Betty McCollum. Philadelphia: Chelsea House. ISBN978-0-791-07456-5.
  • Brun-Lambert, David (October 2006) [2006]. Nina Simone, het tragische lot van een uitzonderlijke zangeres (in Dutch). Introduction by Lisa Celeste Stroud, afterword by Gerrit de Bruin. Zwolle: Sirene. ISBN90-5831-425-i.
  • Cohodas, Nadine (2010). Princess Noire: The Tumultuous Reign of Nina Simone . New York: Pantheon Books. ISBN978-0-375-42401-4.
  • Elliott, Richard (2013). Nina Simone. Icons of Pop Music. Sheffield, UK: Equinox. ISBN978-i-845-53988-7.
  • Hampton, Sylvia; Nathan, David (2004) [2004]. Nina Simone: Interruption Down and Permit It All Out. Introduction by Lisa Celeste Stroud. London: Sanctuary. ISBN1-86074-552-0.
  • Light, Alan (2016). What Happened, Miss Simone?: A Biography. New York: Crown Classic. ISBN978-ane-101-90487-ix.
  • Simone, Nina; Stephen Cleary (2003) [1992]. I Put a Spell on You. Introduction by Dave Marsh (2nd ed.). New York: Da Capo Press. ISBN0-306-80525-1.
  • Stroud, Andy (2005). Nina Simone, "Blackness is the Color...": A book of rare photographs of adolescence, family unit and early career with quotes in her own words. Introduction by Lisa Simone Kelly. Philadelphia: Xlibris. ISBN978-1-599-26670-one. [ cocky-published source ]
  • Todd, Traci Due north. (2021). Nina : a story of Nina Simone. New York: K. P. Putnam'due south Sons. ISBN9781524737283.
  • Williams, Richard (2002). Nina Simone: Don't Let Me Be Understood. Edinburgh: Canongate. ISBN978-one-841-95368-7.

External links [edit]

  • Official website
  • The Amazing Nina Simone: A Documentary Film
  • Nina Simone at IMDb
  • Nina Simone on Instagram
  • Nina Simone at Curlie
  • Shatz, Adam (March 10, 2016). "The Violent Courage of Nina Simone". The New York Review of Books.

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Source: https://en.wikipedia.org/wiki/Nina_Simone

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