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American vocalizer and songwriter (1933–2003)

Nina Simone
Simone in 1965

Simone in 1965
Background information
Birth name Eunice Kathleen Waymon
Born (1933-02-21)Feb 21, 1933
Tryon, Due north Carolina, U.S.
Died April 21, 2003(2003-04-21) (aged 70)
Carry-le-Rouet, France
Genres
  • R&B
  • jazz
  • blues
  • folk
  • soul
  • classical
  • gospel
Occupation(s)
  • Singer
  • songwriter
  • musician
  • arranger
  • composer
  • activist
Years active 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 every bit 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 viii children born to a poor family in Tryon, Due north Carolina, Simone initially aspired to exist a concert pianist.[1] With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City.[two] She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well received audition,[3] which she attributed to racism. In 2003, but days earlier her decease, the Constitute awarded her an honorary caste.[4]

To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her proper noun to "Nina Simone" to disguise herself from family unit members, having chosen to play "the devil's music"[3] or and then-called "cocktail piano". She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalizer.[5] She went on to record more than 40 albums between 1958 and 1974, making her debut with Lilliputian Girl Blueish. She had a hitting unmarried in the United States in 1958 with "I Loves Yous, Porgy".[i] Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach,[6] and accompanied expressive, jazz-like singing in her contralto vox.[vii] [8]

Biography [edit]

1933–1954: Early life [edit]

Simone was built-in on February 21, 1933, in Tryon, North Carolina. The 6th of eight children[nine] in a poor family, she began playing piano at the age of three or 4; the start song she learned was "God Be With You, Till We Meet Once more".[10] Demonstrating a talent with the pianoforte, she performed at her local church building. Her concert debut, a classical recital, was given when she was 12. Simone later said that during this performance, her parents, who had taken seats in the front row, were forced to move to the dorsum of the hall to brand way for white people.[11] She said that she refused to play until her parents were moved dorsum to the front,[12] [xiii] and that the incident contributed to her afterward involvement in the ceremonious rights movement.[fourteen] Simone's female parent, Mary Kate Waymon (née Irvin, Nov 20, 1901 – Apr 30, 2001),[xv] was a Methodist minister and a housemaid. Her father, Rev. John Devan Waymon (June 24, 1898 – October 23, 1972),[xvi] was a handyman who at one fourth dimension owned a dry-cleaning business, but also suffered bouts of ill health. Simone'due south music teacher helped institute a special fund to pay for her educational activity.[17] Subsequently, a local fund was gear up up to assist her continued education. With the help of this scholarship coin, she was able to attend Allen High School for Girls in Asheville, Due north Carolina.

After her graduation, Simone spent the summer of 1950 at the Juilliard School equally a pupil of Carl Friedberg, preparing for an audition at the Curtis Institute of Music in Philadelphia.[eighteen] Her awarding, notwithstanding, was denied. Only 3 of 72 applicants were accepted that year,[19] but as her family had relocated to Philadelphia in the expectation of her entry to Curtis, the blow to her aspirations was particularly heavy. For the rest of her life, she suspected that her application had been denied because of racial prejudice, a charge the staff at Curtis have denied.[20] Discouraged, she took private piano lessons with Vladimir Sokoloff, a professor at Curtis, but never could re-utilise due to the fact that at the time the Curtis found did not accept students over 21. She took a job equally a lensman's assistant, but also found piece of work as an accompanist at Arlene Smith's song studio and taught piano from her domicile in Philadelphia.[eighteen]

1954–1959: Early on success [edit]

In order to fund her individual lessons, Simone performed at the Midtown Bar & Grill on Pacific Artery in Atlantic City, New Jersey, whose owner insisted that she sing every bit well equally play the piano, which increased her income to $90 a week. In 1954, she adopted the stage name "Nina Simone". "Nina", derived from niña, was a nickname given to her by a boyfriend named Chico,[eighteen] and "Simone" was taken from the French extra Simone Signoret, whom she had seen in the 1952 movie Casque d'Or.[21] Knowing her mother would non approve of playing "the Devil'south music", she used her new stage proper noun 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 of operations.[22]

In 1958, she befriended and married Don Ross, a crackpot who worked as a fairground barker, but chop-chop regretted their marriage.[23] Playing in small clubs in the aforementioned year, she recorded George Gershwin'south "I Loves You, Porgy" (from Porgy and Bess), which she learned from a Billie Vacation album and performed as a favor to a friend. It became her just Billboard top xx success in the United states, and her debut album Little Daughter Blue followed in Feb 1959 on Bethlehem Records.[24] [25] [26] Because she had sold her rights outright for $3,000, Simone lost more $1 million in royalties (notably for the 1980s re-release of her version of the jazz standard "My Baby Only Cares for Me") and never benefited financially from the album's sales.[27]

1959–1964: Burgeoning popularity [edit]

After the success of Little Daughter Blue, Simone signed a contract with Colpix Records and recorded a multitude of studio and live albums. Colpix relinquished all artistic command to her, including the choice of material that would be recorded, in exchange for her signing the contract with them. Afterward 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 just to brand money to continue her classical music studies, and was indifferent nearly having a recording contract. She kept this mental attitude toward the record industry for nigh of her career.[29]

Simone married a New York constabulary detective, Andrew Stroud, in December 1961. In a few years he became her manager and the male parent of her girl Lisa, merely later he abused Simone psychologically and physically.[three] [xxx] [31]

1964–1974: Ceremonious Rights era [edit]

In 1964, Simone changed record distributors from Colpix, an American company, to the Dutch Philips Records, which meant a change in the content of her recordings. She had always included songs in her repertoire that drew on her African-American heritage, such as "Chocolate-brown Infant" by Oscar Brown and "Zungo" past 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 first time she addressed racial inequality in the The states 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 4 young blackness girls and partly blinded a fifth. She said that the song was "like throwing x bullets back at them", becoming one of many other protest songs written by Simone. The song was released every bit 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 after recalled how "Mississippi Goddam" was her "kickoff civil rights song" and that the song came to her "in a blitz of fury, hatred and conclusion". The vocal challenged the belief that race relations could change gradually and called for more than immediate developments: "me and my people are just about due". It was a primal moment in her path to Civil Rights activism.[35] "Old Jim Crow", on the same album, addressed the Jim Crow laws. After "Mississippi Goddam", a civil rights message was the norm in Simone's recordings and became office of her concerts. Equally her political activism rose, the rate of release of her music slowed.

Simone performed and spoke at civil rights meetings, such every bit at the Selma to Montgomery marches.[36] Similar Malcolm X, her neighbor in Mountain Vernon, New York, she supported blackness nationalism and advocated fierce revolution rather than Martin Luther King Jr.'s non-violent approach.[37] She hoped that African Americans could apply armed combat to form a separate state, though she wrote in her autobiography that she and her family regarded all races as 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 Dejection (1967). On Silk & Soul (1967), she recorded Billy Taylor'southward "I Wish I Knew How It Would Feel to Be Free" and "Turning Signal". The album 'Nuff Said! (1968) contained live recordings from the Westbury Music Fair of Apr 7, 1968, iii days after the assassination of Martin Luther Male monarch Jr. She dedicated the functioning to him and sang "Why? (The Rex of Dearest Is Expressionless)", a song written by her bass player, Gene Taylor.[38] In 1969, she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park, immortalized in Questlove's 2021 documentary Summertime of Soul.[39] [40]

Simone and Weldon Irvine turned the unfinished play To Be Young, Gifted and Black past Lorraine Hansberry into a ceremonious rights vocal of the same name. She credited her friend Hansberry with cultivating her social and political consciousness. She performed the song live on the album Black Gold (1970). A studio recording was released as a unmarried, and renditions of the song have been recorded past Aretha Franklin (on her 1972 album Immature, Gifted and Black) and Donny Hathaway.[32] When reflecting on this flow, she wrote in her autobiography, "I felt more alive and so than I feel now because 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 manufacture punished her past boycotting her records.[42] Injure and disappointed, Simone left the United states in September 1970, flying to Barbados and expecting her husband and manager (Andrew Stroud) to communicate with her when she had to perform again. However, Stroud interpreted Simone's sudden disappearance, and the fact that she had left backside her nuptials ring, every bit an indication of her desire for a divorce. Equally her manager, Stroud was in charge of Simone's 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 equally a protestation against her country's involvement with the Vietnam War), and returned to Barbados to evade the authorities 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, vocalizer Miriam Makeba, and so persuaded her to go to Liberia. When Simone relocated, she abandoned her daughter Lisa in Mount Vernon.[46] Lisa eventually 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 alive with her father Andrew Stroud.[46] [47] Simone recorded her last album for RCA, It Is Finished, in 1974, and did not make another record until 1978, when she was persuaded to become into the recording studio by CTI Records owner Creed Taylor. The result was the album Baltimore, which, while not a commercial success, was fairly well received critically and marked a quiet artistic renaissance in Simone'south recording output.[48] Her choice of textile retained its eclecticism, ranging from spiritual songs to Hall & Oates' "Rich Girl". Four years later, Simone recorded Fodder on My Wings on a French label, Studio Davout.

During the 1980s, Simone performed regularly at Ronnie Scott's Jazz Guild 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 especially seemed to savor engaging with her audiences sometimes, by recounting humorous anecdotes related to her career and music and by soliciting requests.[ citation needed ] By this time she stayed everywhere and nowhere. She lived in Liberia, Barbados and Switzerland and eventually ended up in Paris. In that location she regularly performed in a minor jazz club called Aux Trois Mailletz for relatively minor financial reward. The performances were sometimes brilliant and at other times Nina Simone gave up after fifteen minutes. Often she was too drunkard to sing or play the pianoforte properly. At other times she scolded the audience. The finish of Nina Simone seemed in sight.[49] Managing director Raymond Gonzalez, guitarist Al Schackman and Gerrit de Bruin, a Dutch friend of hers, decided to arbitrate.

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

In 1987, Simone scored a huge European hit with the song "My Baby Simply Cares for Me". Recorded by her for the first time in 1958, the song was used in a commercial for Chanel No. v perfume in Europe, leading to a re-release of the recording. This stormed to number 4 on the UK'due south NME singles nautical chart, giving Simone a brief surge in popularity in the United kingdom of great britain and northern ireland and elsewhere.[49]

In the spring of 1988, Simone moved to Nijmegen in the Netherlands. 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 away and kept an eye on her. The thought was to bring Simone to Nijmegen to relax and get dorsum on track. A daily flagman, Jackie Hammond from London, was hired for her. She was known for her temper and outbursts of aggression. Unfortunately, the tantrums followed her to Nijmegen. Simone was diagnosed with bipolar disorder by a friend of De Bruin, who prescribed Trilafon for her. Despite the miserable illness, it was by and large a happy time for Simone in Nijmegen, where she could atomic number 82 a fairly bearding life. Only a few recognized her, but almost Nijmegen people did non know who she was. Slowly but surely her life started to ameliorate, and she was even able to brand money from the Chanel commercial afterwards a legal battle. In 1991 Nina Simone exchanged Nijmegen for the more lively Amsterdam, where she lived for two years with friends and Hammond.[50] [51]

1993–2003: Concluding years, affliction and death [edit]

In 1993, Simone settled near Aix-en-Provence in southern France (Bouches-du-Rhône).[52] In the same year, her terminal album, A Single Woman, was released. She variously contended that she married or had a love thing with a Tunisian effectually this time, simply that their relationship ended considering, "His family unit didn't desire him to move to France, and France didn't want him because he'southward a Due north African."[53] During a 1998 performance in Newark, she announced, "If yous're going to come see me again, you've got to come to France, because I am not coming back."[54] She suffered from chest cancer for several years before she died in her sleep at her home in Carry-le-Rouet (Bouches-du-Rhône), on April 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 Dee, and hundreds of others. Simone's ashes were scattered in several African countries. Her daughter 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's consciousness on the racial and social discourse was prompted by her friendship with blackness playwright Lorraine Hansberry.[56] Simone stated that during her conversations with Hansberry "we never talked about men or clothes. Information technology was e'er 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's repertoire. One of Nina's more than hopeful activism anthems, "To Be Young, Gifted and Black", was written with collaborator Weldon Irvine in the years post-obit the playwright's passing, acquiring the title of one of Hansberry's unpublished plays. Simone's social circles included notable black activists such as James Baldwin, Stokely Carmichael and Langston Hughes: the lyrics of her song "Backlash Blues" were written by Hughes.[57]

Across the ceremonious rights movement [edit]

Simone's social commentary was non limited to the civil rights movement; the song "Four Women" exposed the eurocentric appearance standards imposed on blackness women in America,[58] equally it explored the internalized dilemma of dazzler that is experienced between four black women with pare tones ranging from light to dark. She explains in her autobiography I Put a Spell on You that the purpose of the song was to inspire black women to define dazzler and identity for themselves without the influence of societal impositions.[59] Chardine Taylor-Stone has noted that, across the politics of beauty, the song also describes the stereotypical roles that many black women have historically been restricted to: the mammy, the tragic mulatto, the sex worker and the angry black woman.[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 particularly for the singer. Her first hit song in America was her rendition of George Gershwin's "I Loves You lot, Porgy" (1958). It peaked at number 18 on the Billboard magazine Hot 100 chart.[threescore]

During that same period Simone recorded "My Baby Just Cares for Me", which would become her biggest success years later, in 1987, subsequently it was featured in a 1986 Chanel No. 5 perfume commercial.[61] A music video was too created past Aardman Studios.[62] Well-known songs from her Philips albums include "Don't Let Me Be Misunderstood" on Broadway-Blues-Ballads (1964); "I Put a Spell on Y'all", "Ne me quitte pas" (a rendition of a Jacques Brel song), and "Feeling Good" on I Put a Spell On You (1965); and "Lilac Wine" and "Wild Is the Wind" on Wild is the Wind (1966).[63]

"Don't Permit Me Be Misunderstood" and her takes on "Feeling Good" and "Sinnerman" (Pastel Blues, 1965) accept remained pop in cover versions (most notably a version of the former song by The Animals), sample usage, and their employ on soundtracks for diverse movies, television series, and video games. "Sinnerman" has been featured in the films The Crimson Pirate (1952), The Thomas Crown Thing (1999), Loftier Crimes (2002), Cellular (2004), Déjà Vu (2006), Miami Vice (2006), Golden Door (2006), Inland Empire (2006), and Harriet (2019), equally well as in Telly series such as Homicide: Life on the Street (1998, "Sins of the Father"), Nash Bridges (2000, "Jackpot"), Scrubs (2001, "My Own Personal Jesus"), Boomtown (2003, "The Big Moving picture"), Person of Interest (2011, "Witness"), Shameless (2011, "Kidnap and Ransom"), Love/Detest (2011, "Episode 1"), Sherlock (2012, "The Reichenbach Fall"), The Blacklist (2013, "The Freelancer"), Vinyl (2016, "The Racket"), Lucifer (2017, "Favorite Son"), and The Umbrella University (2019, "Extra Ordinary"), and sampled by artists such as Talib Kweli (2003, "Get By"), Timbaland (2007, "Oh Timbaland"), and Flying Lotus (2012, "Until the Repose Comes"). The song "Don't Let Me Be Misunderstood" was sampled by Devo Springsteen on "Misunderstood" from Common's 2007 album Finding Forever, and by lilliputian-known producers Rodnae and Mousa for the song "Don't Get Information technology" on Lil Wayne'due south 2008 album Tha Carter III. "See-Line Woman" was sampled past Kanye West for "Bad News" on his album 808s & Heartbreak. The 1965 rendition of "Strange Fruit", originally recorded by Billie Vacation, was sampled by Kanye Due west for "Claret on the Leaves" on his album Yeezus.

Simone's years at RCA-Victor spawned many singles and album tracks that were popular, particularly in Europe. In 1968, information technology was "Ain't Got No, I Got Life", a medley from the musical Hair from the album 'Nuff Said! (1968) that became a surprise hit for Simone, reaching number 2 on the UK Singles Nautical chart and introducing her to a younger audience.[64] [65] In 2006, it returned to the Great britain Summit 30 in a remixed version by Groovefinder.

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

Performance style [edit]

Simone's bearing and stage presence earned her the title "the Loftier Priestess of Soul".[68] She was a pianist, singer and performer, "separately, and simultaneously."[30] As a composer and arranger, Simone moved from gospel to blues, jazz, and folk, and to numbers with European classical styling. Also using Bach-style counterpoint, she chosen upon the particular virtuosity of the 19th-century Romantic piano repertoire—Chopin, Liszt, Rachmaninoff, and others. Jazz trumpeter Miles Davis spoke highly of Simone, securely impressed by her power to play 3-part counterpoint (her two hands on the pianoforte and her voice each providing a carve up merely complementary melody line).[twenty] Onstage, she incorporated monologues and dialogues with the audition into the program, and ofttimes 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 director Al Schackman.[70] She was known to pay close attending to the design and acoustics of each venue, tailoring her performances to private venues.[xx]

Simone was perceived as a sometimes hard 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 experiences every bit a classical pianist had conditioned Simone to expect placidity attentive audiences, and her anger tended to flare up at nightclubs, lounges, or other locations where patrons were less circumspect.[20] Schackman described her live appearances equally hit or miss, either reaching heights of hypnotic brilliance or on the other paw mechanically playing a few songs and and so abruptly ending concerts early.

Disquisitional reputation [edit]

Simone is regarded as one of the virtually 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 past "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 interruption 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 vocalizer of all time, Rolling Stone wrote that "her honey-coated, slightly adenoidal cry was i of the about affecting voices of the civil rights motility", while making note of her ability to "chugalug barroom dejection, croon cabaret and explore jazz — sometimes all on a single record."[73] In the opinion of AllMusic'southward Mark Deming, she was "one of the most gifted vocalists of her generation, and also ane of the most eclectic".[74] Creed Taylor, who annotated the liner notes for Simone's 1978 Baltimore album, said the singer possessed a "magnificent intensity" that "turns everything—even the most simple, 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 still relevant today: "information technology didn't adhere to ephemeral trends, it isn't a relic of a bygone era; her vocal delivery and technical skills equally a pianist notwithstanding dazzle; and her emotional performances have a visceral bear upon."[76]

"She is loved or feared, adored or disliked", Maya Angelou wrote in 1970, "but few who have 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 as bogus as her mannered melismas and pronunciation (move over, Inspector Clouseau) and the rote flatting of her vocal improvisations."[75] Regarding her piano playing, he dismissed Simone as a "middlebrow keyboard tickler ... whose histrionic rolls insert unconvincing emotion into a vocal".[78] He later attributed his by and large negative appraisal to Simone'due south consistent seriousness of mode, depressive tendencies, and classical groundwork.[79]

Mental health [edit]

Simone was diagnosed with bipolar disorder in the late 1980s.[fourscore] She was known for her temper and outbursts of assailment.[81] In 1985, Simone fired a gun at a record visitor executive, whom she defendant of stealing royalties. Simone said she "tried to kill him" but "missed".[82] In 1995 while living in France, she shot and wounded her neighbour's son with an air gun after the boy'southward laughter disturbed her concentration and she perceived his response to her complaints equally racial insults;[83] [84] she was sentenced to eight months in jail, which was suspended pending a psychiatric evaluation and handling.[xx]

According to a biographer, Simone took medication from the mid-1960s onward, although this was supposedly only known to a minor group of intimates.[85] Afterward her death the medication was confirmed equally the anti-psychotic Trilafon, which Simone's friends and caretakers sometimes surreptitiously mixed into her food when she refused to follow her treatment programme.[twenty] This fact was kept out of public view until 2004 when a biography, Suspension Down and Permit It All Out, written by Sylvia Hampton and David Nathan (of her UK fan gild), was published posthumously.[86] Singer-songwriter Janis Ian, a one-time friend of Simone'due south, related in her own autobiography, Society'due south Kid: My Autobiography, ii instances to illustrate Simone'due south volatility: one incident in which she forced a shoe store cashier at gunpoint to accept back a pair of sandals she'd already worn; and another in which Simone demanded a royalty payment from Ian herself as an commutation for having recorded ane of Ian's songs, and so 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 Honor in 2000 for her interpretation of "I Loves You, Porgy". On Human Kindness Day 1974 in Washington, D.C., more than than 10,000 people paid tribute to Simone.[88] [89] Simone received 2 honorary degrees in music and humanities, from Amherst College and Malcolm X College.[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 Roll Hall of Fame in 2018.[93]

2 days before her death, Simone learned she would be awarded an honorary caste past the Curtis Institute of Music, the music school that had refused to admit her every bit a student at the commencement of her career.[4]

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

Simone garnered a second nomination in the category in 1971, for her Black Gold album, when she again lost to Franklin for "Don't Play That Song (You lot Lied)". Franklin would again win for her comprehend of Simone's "Young, Gifted and Black" 2 years afterwards in the aforementioned category. In 2016, Simone posthumously received a nomination for Best Music Film for the Netflix documentary What Happened, Miss Simone? and in 2018 she received a nomination for All-time Rap Song every bit a songwriter for Jay-Z's "The Story of O.J." from his 4:44 album which contained a sample of "Four Women" past Simone.

In 2018, Simone was inducted into the Rock and Ringlet Hall of Fame[95] by fellow R&B artist 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 significant".[97]

Legacy and influence [edit]

Music [edit]

Musicians who accept cited Simone equally important for their own musical upbringing include Elton John (who named one of his pianos subsequently her), Madonna, Aretha Franklin, Adele, David Bowie, Patti LaBelle, Boy George, Emeli Sandé, Antony and the Johnsons, Dianne Reeves, Sade, Janis Joplin, Nick Cave, Van Morrison, Christina Aguilera, Elkie Brooks, Talib Kweli, Mos Def, Kanye Due west, Lena Horne, Bono, John Legend, Elizabeth Fraser, Cat Stevens, Anna Calvi, Cat Power, Lykke Li, Peter Gabriel, Justin Hayward, Maynard James Keenan, Cedric Bixler-Zavala, Mary J. Blige, Fantasia Barrino, Michael Gira, Angela McCluskey, Lauryn Colina, 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'south version of "I Put a Spell on You" every bit 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 following year, experimental ring Xiu Xiu released a cover album, Nina. In tardily 2019, American rapper Wale released an album titled Wow... That's Crazy, containing a track called "Love Me Nina/Semiautomatic" which contains audio clips from Simone.

Simone'due 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), Any Given Sun (1999), The Thomas Crown Thing (1999), Disappearing Acts (2000), Half dozen Feet Under (2001), The Dancer Upstairs (2002), Before Sunset (2004), Cellular (2004), Inland Empire (2006), Miami Vice (2006), Sexual activity and the City (2008), The World Unseen (2008), Revolutionary Road (2008), Abode (2008), Watchmen (2009), The Saboteur (2009), Repo Men (2010), Across the Lights (2014), and "Nobody" (2021). Oftentimes her music is used in remixes, commercials, and TV serial including "Feeling Adept", which featured prominently in the Flavour Four Promo of 6 Anxiety Under (2004). Simone'due south "Take Care of Business" is the closing theme of The Man from U.N.C.L.East. (2015), Simone's cover of Janis Ian'southward "Stars" is played during the last moments of the flavour 3 finale of BoJack Horseman (2016), and "I Wish I Knew How Information technology Would Feel to Be Gratuitous" and "Don't Let Me Be Misunderstood" were included in the film Acrimony (2018).

Film [edit]

The documentary Nina Simone: La légende (The Legend) was fabricated in the 1990s by French filmmakers and based on her autobiography I Put a Spell on You lot. It 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 Legend 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 available on video courtesy of Eagle Rock Entertainment and is screened annually in New York Metropolis at an effect chosen "The Rising and Fall of Nina Simone: Montreux, 1976" which is curated by Tom Blunt.[103]

Footage of Simone singing "Mississippi Goddam" for twoscore,000 marchers at the finish of the Selma to Montgomery marches can be seen in the 1970 documentary King: A Filmed Record... Montgomery to Memphis and the 2015 Liz Garbus documentary What Happened, Miss Simone? [three]

Plans for a Simone biographical film were released at the end of 2005, to be based on Simone's autobiography I Put a Spell on Yous (1992) and to focus on her human relationship in later life with her banana, Clifton Henderson, who died in 2006; Simone'south daughter, Lisa Simone Kelly, has since refuted the beingness of a romantic human relationship between Simone and Henderson on business relationship of his homosexuality.[104] Cynthia Mort (screenwriter of Will & Grace and Roseanne), wrote the screenplay and directed the 2016 flick Nina, starring Zoe Saldana who has since openly apologized for taking the controversial championship role.[105] [106] [107] [108]

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

The 2nd documentary in 2015, The Amazing Nina Simone is an independent picture show written and directed by Jeff 50. Lieberman, who initially consulted with Simone'south daughter, Lisa earlier going the independent road and then worked closely with Simone'southward siblings, predominantly Sam Waymon.[111] [112] The flick debuted in cinemas in October 2015, and has since played more than than 100 theatres in 10 countries.[113]

Drama [edit]

She is the subject of Nina: A Story About Me and Nina Simone, a one-woman show starting time performed in 2016 at the Unity Theatre, Liverpool — a "deeply personal and often searing show inspired by the singer and activist Nina Simone"[114] — and which in July 2017 ran at the Young Vic, earlier being scheduled to motility to Edinburgh'south Traverse Theatre.[115]

Books [edit]

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

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

Honors [edit]

Nina Simonestraat in Nijmegen, Netherlands

In 2002, the city of Nijmegen, Netherlands, named a street after her, as "Nina Simone Street": she had lived in Nijmegen between 1988 and 1990. On August 29, 2005, the metropolis of Nijmegen, the De Vereeniging concert hall, and more 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 honor was erected on Merchandise Street in her native Tryon, North Carolina.[120]

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

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

The Proms paid a homage to Nina Simone in 2019, an event called Mississippi Goddamn was performed by The Metropole Orkest at Majestic 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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  3. ^ a b c d Liz Garbus, 2015 documentary film, What Happened, Miss Simone?
  4. ^ a b "The Nina Simone Foundation". Archived from the original on June 19, 2008. Retrieved December vii, 2006.
  5. ^ Pierpont, Claudia Roth (August vi, 2014). "A Raised Vocalism: How Nina Simone turned the movement into music". The New Yorker. Archived from the original on Baronial 6, 2014. Retrieved August half dozen, 2014.
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  8. ^ Simone & Cleary 2003, pp. 17–xix
  9. ^ Cohodas 2010, p. v
  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 10, 2016). "The Fierce Courage of Nina Simone". The New York Review of Books . Retrieved February seven, 2018.
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      Relevant remarks:
      Bardin: "Y'all've been married and divorced and had many romances. Do you nonetheless get around?"
      Simone: "I had an intense love affair with a Tunisian boy last twelvemonth, but I don't think I want to become involved for a long time once more because he opened me upward similar a volcano, and it about put me under."
    • Hotel Carlton, Tunis (June 2, 2018). "#hotelcarltontunis". Instagram . Retrieved March 4, 2020. Nina Simone at the Carlton. It 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 concluded badly and Nina told the press, 'I volition never autumn in beloved again.'
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      Relevant remarks:
      Sebastian: "You've been married earlier."
      Simone: "I've been married twice."
      Sebastian: "Accept you lot been unlucky at love?"
      Simone: "Yeah—unlucky at marriages. Non 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 mode in the 1 where I married the cop from the Us [Andrew Stroud]. The music got in the way, and he treated me similar a horse. You know, a nonstop workaholic horse. And the i in Tunisia—well, that was very hot, similar a volcano. And his family didn't want him to move to French republic, and France didn't want him because he's a N African."
      Sebastian: "And the volcano didn't last?"
      Simone: "No, just information technology lasted long enough for me to never forget it, I'll tell you that."
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Sources [edit]

  • Acker, Kerry (2004). Nina Simone. Introduction by 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 past Lisa Celeste Stroud, afterword by Gerrit de Bruin. Zwolle: Sirene. ISBN90-5831-425-ane.
  • 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 Popular Music. Sheffield, UK: Equinox. ISBN978-one-845-53988-7.
  • Hampton, Sylvia; Nathan, David (2004) [2004]. Nina Simone: Break Downwards and Permit It All Out. Introduction past Lisa Celeste Stroud. London: Sanctuary. ISBN1-86074-552-0.
  • Low-cal, Alan (2016). What Happened, Miss Simone?: A Biography. New York: Crown Archetype. ISBN978-one-101-90487-nine.
  • Simone, Nina; Stephen Cleary (2003) [1992]. I Put a Spell on Y'all. Introduction past Dave Marsh (2nd ed.). New York: Da Capo Press. ISBN0-306-80525-one.
  • Stroud, Andy (2005). Nina Simone, "Black is the Color...": A book of rare photographs of adolescence, family and early on career with quotes in her own words. Introduction by Lisa Simone Kelly. Philadelphia: Xlibris. ISBN978-1-599-26670-one. [ self-published source ]
  • Todd, Traci N. (2021). Nina : a story of Nina Simone. New York: G. P. Putnam's Sons. ISBN9781524737283.
  • Williams, Richard (2002). Nina Simone: Don't Let Me Be Understood. Edinburgh: Canongate. ISBN978-one-841-95368-vii.

External links [edit]

  • Official website
  • The Amazing Nina Simone: A Documentary Flick
  • Nina Simone at IMDb
  • Nina Simone on Instagram
  • Nina Simone at Curlie
  • Shatz, Adam (March 10, 2016). "The Vehement 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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