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American singer and songwriter (1933–2003)

Nina Simone
Simone in 1965

Simone in 1965
Background information
Birth name Eunice Kathleen Waymon
Born (1933-02-21)February 21, 1933
Tryon, Northward Carolina, U.Due south.
Died Apr 21, 2003(2003-04-21) (aged 70)
Carry-le-Rouet, France
Genres
  • R&B
  • jazz
  • dejection
  • folk
  • soul
  • classical
  • gospel
Occupation(southward)
  • Vocaliser
  • 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 – Apr 21, 2003), known professionally every bit Nina Simone, was an American singer, songwriter, musician, arranger, and ceremonious rights activist. Her music spanned styles including classical, jazz, dejection, folk, R&B, gospel and pop.

The sixth of eight children born to a poor family unit in Tryon, North Carolina, Simone initially aspired to be a concert pianist.[1] With the help of a few supporters in her hometown, she enrolled in the Juilliard Schoolhouse of Music in New York Urban center.[2] 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, just days before her death, the Institute awarded her an honorary caste.[4]

To make a living, Simone started playing piano at a nightclub in Atlantic Metropolis. She inverse her proper name to "Nina Simone" to disguise herself from family members, having chosen to play "the devil'due south music"[3] or then-chosen "cocktail piano". She was told in the nightclub that she would take to sing to her own accessory, which effectively launched her career equally a jazz vocalizer.[5] She went on to tape more than twoscore albums between 1958 and 1974, making her debut with Trivial Girl Bluish. She had a striking unmarried in the U.s.a. in 1958 with "I Loves You, Porgy".[ane] Her musical style fused gospel and pop with classical music, in detail Johann Sebastian Bach,[half dozen] and accompanied expressive, jazz-like singing in her contralto voice.[seven] [8]

Biography [edit]

1933–1954: Early life [edit]

Simone was born on February 21, 1933, in Tryon, North Carolina. The sixth of viii children[ix] in a poor family, she began playing pianoforte at the age of three or iv; the first vocal she learned was "God Be With You, Till We See Over again".[10] Demonstrating a talent with the piano, she performed at her local church. Her concert debut, a classical recital, was given when she was 12. Simone afterwards said that during this performance, her parents, who had taken seats in the front row, were forced to motility 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 dorsum to the front,[12] [13] and that the incident contributed to her later involvement in the ceremonious rights movement.[14] Simone's female parent, Mary Kate Waymon (née Irvin, November 20, 1901 – April 30, 2001),[15] was a Methodist minister and a housemaid. Her begetter, Rev. John Devan Waymon (June 24, 1898 – Oct 23, 1972),[16] was a handyman who at one time owned a dry out-cleaning business, merely as well suffered bouts of ill health. Simone'south music instructor helped establish a special fund to pay for her education.[17] Subsequently, a local fund was set to assist her continued educational activity. With the help of this scholarship money, she was able to attend Allen High School for Girls in Asheville, Due north Carolina.

Afterward her graduation, Simone spent the summer of 1950 at the Juilliard Schoolhouse as a educatee of Carl Friedberg, preparing for an audition at the Curtis Institute of Music in Philadelphia.[eighteen] Her awarding, however, was denied. Only three of 72 applicants were accepted that year,[xix] 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 accuse the staff at Curtis have denied.[20] Discouraged, she took private piano lessons with Vladimir Sokoloff, a professor at Curtis, only never could re-apply due to the fact that at the time the Curtis institute did not have students over 21. She took a job as a photographer'due south assistant, but also found work as an accompanist at Arlene Smith'southward song studio and taught piano from her home in Philadelphia.[18]

1954–1959: Early success [edit]

In club 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 as play the pianoforte, which increased her income to $90 a week. In 1954, she adopted the phase proper noun "Nina Simone". "Nina", derived from niña, was a nickname given to her by a boyfriend named Chico,[18] and "Simone" was taken from the French actress Simone Signoret, whom she had seen in the 1952 movie Casque d'Or.[21] Knowing her female parent would not approve of playing "the Devil's 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 pocket-sized just loyal fan base.[22]

In 1958, she befriended and married Don Ross, a crackpot who worked as a fairground barker, but quickly regretted their marriage.[23] Playing in modest clubs in the same yr, she recorded George Gershwin's "I Loves You lot, Porgy" (from Porgy and Bess), which she learned from a Billie Holiday anthology and performed as a favor to a friend. It became her merely Billboard top twenty success in the United states, and her debut album Lilliputian Girl Blue followed in February 1959 on Bethlehem Records.[24] [25] [26] Considering she had sold her rights outright for $three,000, Simone lost more than than $one 1000000 in royalties (notably for the 1980s re-release of her version of the jazz standard "My Baby Just Cares for Me") and never benefited financially from the album's sales.[27]

1959–1964: Burgeoning popularity [edit]

After the success of Little Girl Blue, Simone signed a contract with Colpix Records and recorded a multitude of studio and alive albums. Colpix relinquished all creative control to her, including the pick of material that would be recorded, in commutation for her signing the contract with them. After the release of her live album Nina Simone at Town Hall, Simone became a favorite performer in Greenwich Village.[28] By this time, Simone performed pop music only to make money to go along her classical music studies, and was indifferent about having a recording contract. She kept this attitude toward the tape manufacture for most of her career.[29]

Simone married a New York constabulary detective, Drew Stroud, in December 1961. In a few years he became her manager and the father of her girl Lisa, only later he abused Simone psychologically and physically.[iii] [30] [31]

1964–1974: Civil Rights era [edit]

In 1964, Simone changed record distributors from Colpix, an American company, to the Dutch Philips Records, which meant a alter in the content of her recordings. She had always included songs in her repertoire that drew on her African-American heritage, such as "Dark-brown Babe" by Oscar Dark-brown and "Zungo" past Michael Olatunji on her anthology Nina at the Hamlet Gate in 1962. On her debut anthology for Philips, Nina Simone in Concert (1964), for the get-go time she addressed racial inequality in the United 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 four young blackness girls and partly blinded a fifth. She said that the song was "like throwing ten bullets dorsum at them", becoming one of many other protestation songs written past Simone. The song was released as a single, and information technology 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 "commencement civil rights song" and that the song came to her "in a rush of fury, hatred and decision". The song challenged the conventionalities that race relations could modify gradually and called for more immediate developments: "me and my people are only almost due". It was a key moment in her path to Civil Rights activism.[35] "Old Jim Crow", on the same album, addressed the Jim Crow laws. Afterwards "Mississippi Goddam", a civil rights message was the norm in Simone's 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 civil rights meetings, such as at the Selma to Montgomery marches.[36] Like Malcolm X, her neighbor in Mount Vernon, New York, she supported black nationalism and advocated violent revolution rather than Martin Luther King Jr.'south non-violent approach.[37] She hoped that African Americans could apply armed combat to form a divide state, though she wrote in her autobiography that she and her family unit regarded all races as equal.

In 1967, Simone moved from Philips to RCA Victor. She sang "Backfire Blues" 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's "I Wish I Knew How Information technology Would Feel to Be Free" and "Turning Point". The album 'Nuff Said! (1968) contained live recordings from the Westbury Music Fair of April 7, 1968, three days afterwards the assassination of Martin Luther Rex Jr. She dedicated the performance to him and sang "Why? (The King of Love Is Expressionless)", a vocal written past her bass histrion, Gene Taylor.[38] In 1969, she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park, immortalized in Questlove'due south 2021 documentary Summertime of Soul.[39] [40]

Simone and Weldon Irvine turned the unfinished play To Be Young, Gifted and Blackness by Lorraine Hansberry into a ceremonious rights song of the same proper noun. She credited her friend Hansberry with cultivating her social and political consciousness. She performed the song alive on the album Black Gold (1970). A studio recording was released as a unmarried, and renditions of the song take been recorded by Aretha Franklin (on her 1972 album Young, Gifted and Black) and Donny Hathaway.[32] When reflecting on this period, she wrote in her autobiography, "I felt more alive then than I feel at present 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 industry punished her by boycotting her records.[42] Injure and disappointed, Simone left the United states in September 1970, flying to Barbados and expecting her hubby and manager (Andrew Stroud) to communicate with her when she had to perform again. However, Stroud interpreted Simone'south sudden disappearance, and the fact that she had left backside her nuptials ring, as an indication of her desire for a divorce. Every bit her managing director, Stroud was in charge of Simone's income.

Simone at a concert in Morlaix, French republic, May 1982

When Simone returned to the Us, she learned that a warrant had been issued for her abort for unpaid taxes (unpaid as a protest against her state's involvement with the Vietnam State of war), and returned to Barbados to evade the government and prosecution.[43] Simone stayed in Barbados for quite some fourth dimension, and had a lengthy thing with the Prime Minister, Errol Barrow.[44] [45] A close friend, singer Miriam Makeba, then persuaded her to go to Republic of liberia. When Simone relocated, she abased her daughter Lisa in Mount Vernon.[46] Lisa eventually reunited with Simone in Republic of 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 begetter 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 go into the recording studio past CTI Records possessor Creed Taylor. The issue was the anthology Baltimore, which, while non a commercial success, was fairly well received critically and marked a tranquillity artistic renaissance in Simone's recording output.[48] Her choice of material retained its eclecticism, ranging from spiritual songs to Hall & Oates' "Rich Girl". Four years afterward, Simone recorded Fodder 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'south in 1984. Although her early on-stage way could exist somewhat haughty and aloof, in afterwards years, Simone particularly seemed to enjoy engaging with her audiences sometimes, past recounting humorous anecdotes related to her career and music and by soliciting requests.[ citation needed ] Past this fourth dimension she stayed everywhere and nowhere. She lived in Liberia, Barbados and Switzerland and eventually concluded up in Paris. In that location she regularly performed in a modest jazz order chosen Aux Trois Mailletz for relatively small financial reward. The performances were sometimes brilliant and at other times Nina Simone gave up after xv minutes. Often she was too drunkard to sing or play the piano properly. At other times she scolded the audition. 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 intervene.

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

Simone moved to Nijmegen in the Netherlands in the jump of 1988. She had just scored a huge European hit with the vocal "My Baby Only Cares for Me". Recorded by her for the beginning 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 iv on the UK's NME singles chart, giving Simone a brief surge in popularity in the Uk and elsewhere.[49]

In 1988 she bought an apartment side by side 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 centre on her. The idea was to bring Simone to Nijmegen to relax and become dorsum on rails. A daily caretaker, 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 mostly a happy time for Simone in Nijmegen, where she could lead a fairly anonymous life. Only a few recognized her, merely most Nijmegen people did not know who she was. Slowly but surely her life started to improve, and she was even able to brand money from the Chanel commercial after a legal boxing. In 1991 Nina Simone exchanged Nijmegen for the more lively Amsterdam, where she lived for ii years with friends and Hammond.[fifty] [51]

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

In 1993, Simone settled most Aix-en-Provence in southern France (Bouches-du-Rhône).[52] In the same year, her final album, A Single Woman, was released. She variously contended that she married or had a love affair with a Tunisian around this fourth dimension, but that their relationship ended because, "His family unit didn't desire him to move to France, and French republic didn't want him because he's a North African."[53] During a 1998 performance in Newark, she appear, "If you're going to come run across me once again, y'all've got to come to France, because I am non coming back."[54] She suffered from chest cancer for several years earlier 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 by singers Miriam Makeba and Patti LaBelle, poet Sonia Sanchez, actors Ossie Davis and Red Dee, and hundreds of others. Simone's ashes were scattered in several African countries. Her girl Lisa Celeste Stroud is an actress and vocalizer 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 black playwright Lorraine Hansberry.[56] Simone stated that during her conversations with Hansberry "we never talked near men or wearing apparel. It was ever 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 Exist Immature, Gifted and Blackness", was written with collaborator Weldon Irvine in the years following the playwright'south passing, acquiring the title of one of Hansberry's unpublished plays. Simone's social circles included notable blackness leftists such equally James Baldwin, Stokely Carmichael and Langston Hughes: the lyrics of her song "Backlash Blues" were written past the latter.[57]

Beyond the civil rights motility [edit]

Simone's social commentary was not express to the ceremonious rights movement; the vocal "Four Women" exposed the eurocentric appearance standards imposed on blackness women in America,[58] equally it explored the internalized dilemma of beauty that is experienced between iv blackness women with pare tones ranging from low-cal to dark. She explains in her autobiography I Put a Spell on You that the purpose of the song was to inspire blackness women to define dazzler and identity for themselves without the influence of societal impositions.[59] Chardine Taylor-Stone has noted that, beyond the politics of dazzler, the song also describes the stereotypical roles that many black women have historically been restricted to: the mammy, the tragic mulatto, the sexual practice 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 especially for the singer. Her kickoff hit song in America was her rendition of George Gershwin's "I Loves You, Porgy" (1958). It peaked at number eighteen on the Billboard magazine Hot 100 chart.[threescore]

During that aforementioned period Simone recorded "My Baby Simply Cares for Me", which would become her biggest success years later on, in 1987, afterward information technology was featured in a 1986 Chanel No. 5 perfume commercial.[61] A music video was also created by Aardman Studios.[62] Well-known songs from her Philips albums include "Don't Allow Me Be Misunderstood" on Broadway-Blues-Ballads (1964); "I Put a Spell on You", "Ne me quitte pas" (a rendition of a Jacques Brel song), and "Feeling Skilful" on I Put a Spell On You (1965); and "Lilac Vino" and "Wild Is the Wind" on Wild is the Current of air (1966).[63]

"Don't Let Me Be Misunderstood" and her takes on "Feeling Good" and "Sinnerman" (Pastel Blues, 1965) have remained popular in cover versions (most notably a version of the one-time song past The Animals), sample usage, and their apply on soundtracks for various movies, boob tube series, and video games. "Sinnerman" has been featured in the films The Crimson Pirate (1952), The Thomas Crown Thing (1999), High Crimes (2002), Cellular (2004), Déjà Vu (2006), Miami Vice (2006), Gilt Door (2006), Inland Empire (2006), and Harriet (2019), as well every bit in Boob tube serial 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 show"), 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"), Friction match (2017, "Favorite Son"), and The Umbrella Academy (2019, "Extra Ordinary"), and sampled by artists such as Talib Kweli (2003, "Become By"), Timbaland (2007, "Oh Timbaland"), and Flying Lotus (2012, "Until the Placidity Comes"). The song "Don't Allow Me Exist Misunderstood" was sampled by Devo Springsteen on "Misunderstood" from Mutual'south 2007 album Finding Forever, and past little-known producers Rodnae and Mousa for the song "Don't Get It" on Lil Wayne'southward 2008 album Tha Carter 3. "See-Line Adult female" was sampled by Kanye W for "Bad News" on his anthology 808s & Heartbreak. The 1965 rendition of "Foreign Fruit", originally recorded by Billie Holiday, was sampled by Kanye Due west for "Blood on the Leaves" on his album Yeezus.

Simone'south years at RCA-Victor spawned many singles and album tracks that were popular, especially in Europe. In 1968, it 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 Britain Top 30 in a remixed version past Groovefinder.

The following single, a rendition of the Bee Gees' "To Love Somebody", also reached the Great britain Superlative 10 in 1969. "The Firm of the Ascent Sun" was featured on Nina Simone Sings the Blues in 1967, merely Simone had recorded the song in 1961 and it was featured on Nina at the Village Gate (1962).[66] [67]

Functioning mode [edit]

Simone'southward bearing and stage presence earned her the title "the High Priestess of Soul".[68] She was a pianist, vocalizer and performer, "separately, and simultaneously."[thirty] Every bit a composer and arranger, Simone moved from gospel to dejection, jazz, and folk, and to numbers with European classical styling. Besides using Bach-mode counterpoint, she called upon the particular virtuosity of the 19th-century Romantic pianoforte repertoire—Chopin, Liszt, Rachmaninoff, and others. Jazz trumpeter Miles Davis spoke highly of Simone, deeply impressed past her power to play three-function counterpoint (her two easily on the piano and her voice each providing a separate but complementary melody line).[20] Onstage, she incorporated monologues and dialogues with the audience into the program, and ofttimes used silence as a musical element.[69] Throughout nigh of her life and recording career she was accompanied past percussionist Leopoldo Fleming and guitarist and musical director Al Schackman.[70] She was known to pay shut attention to the design and acoustics of each venue, tailoring her performances to individual venues.[20]

Simone was perceived as a sometimes hard or unpredictable performer, occasionally hectoring the audition if she felt they were disrespectful. Schackman would try to at-home Simone during these episodes, performing solo until she calmed offstage and returned to finish the engagement. Her early experiences as a classical pianist had conditioned Simone to expect tranquillity attentive audiences, and her anger tended to flare upwardly at nightclubs, lounges, or other locations where patrons were less circumspect.[twenty] Schackman described her live appearances as hitting or miss, either reaching heights of hypnotic brilliance or on the other hand mechanically playing a few songs then abruptly ending concerts early.

Critical reputation [edit]

Simone is regarded as 1 of the most influential recording artists of 20th-century jazz, cabaret and R&B genres.[71] According 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 break from the norms of the industry and produce direct social commentary in her music during the early on 1960s".[72]

In naming Simone the 29th-greatest vocalist of all time, Rolling Stone wrote that "her love-coated, slightly adenoidal weep was one of the most affecting voices of the ceremonious rights movement", while making note of her ability to "belt barroom blues, croon cabaret and explore jazz — sometimes all on a single tape."[73] In the opinion of AllMusic's Marker Deming, she was "one of the nearly gifted vocalists of her generation, and too i of the almost eclectic".[74] Creed Taylor, who annotated the liner notes for Simone's 1978 Baltimore anthology, said the vocaliser 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: "it didn't adhere to ephemeral trends, it isn't a relic of a bygone era; her song commitment and technical skills as 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, "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 (motility over, Inspector Clouseau) and the rote flatting of her vocal improvisations."[75] Regarding her pianoforte playing, he dismissed Simone as a "middlebrow keyboard tickler ... whose histrionic rolls insert unconvincing emotion into a song".[78] He afterward attributed his generally negative appraisal to Simone's consequent seriousness of manner, depressive tendencies, and classical background.[79]

Mental health [edit]

Simone was diagnosed with bipolar disorder in the late 1980s.[80] She was known for her temper and outbursts of aggression.[81] In 1985, Simone fired a gun at a record visitor executive, whom she accused of stealing royalties. Simone said she "tried to kill him" but "missed".[82] In 1995 while living in French republic, she shot and wounded her neighbor'south son with an air gun after the boy's 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 treatment.[20]

Co-ordinate to a biographer, Simone took medication from the mid-1960s onward, although this was supposedly only known to a minor group of intimates.[85] After her death the medication was confirmed as the anti-psychotic Trilafon, which Simone'due south friends and caretakers sometimes surreptitiously mixed into her food when she refused to follow her treatment plan.[twenty] This fact was kept out of public view until 2004 when a biography, Suspension Down and Let It All Out, written past Sylvia Hampton and David Nathan (of her Uk fan club), was published posthumously.[86] Singer-songwriter Janis Ian, a one-time friend of Simone's, related in her own autobiography, Order'south Child: My Autobiography, two instances to illustrate Simone'southward volatility: i incident in which she forced a shoe store cashier at gunpoint to take dorsum a pair of sandals she'd already worn; and another in which Simone demanded a royalty payment from Ian herself every bit an substitution 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 Award in 2000 for her estimation of "I Loves You lot, Porgy." On Man Kindness 24-hour interval 1974 in Washington, D.C., more than ten,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 be chosen "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]

Two days before her death, Simone learned she would be awarded an honorary degree by the Curtis Found of Music, the music school that had refused to acknowledge her equally a pupil at the beginning of her career.[4]

Simone has received four career Grammy Award nominations,[94] ii during her lifetime and 2 posthumously. In 1968, she received her first nomination for Best Female R&B Vocal Functioning for the track "(Y'all'll) Go to Hell" from her thirteenth album Silk & Soul (1967). The laurels 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 Lied)". Franklin would again win for her encompass of Simone'southward "Young, Gifted and Black" 2 years later on in the same 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 Best Rap Song as a songwriter for Jay-Z's "The Story of O.J." from his 4:44 album which contained a sample of "Four Women" by Simone.

In 2018, Simone was inducted into the Stone and Roll 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 have cited Simone as important for their own musical upbringing include Elton John (who named one of his pianos after 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 W, Lena Horne, Bono, John Fable, 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 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'southward version of "I Put a Spell on You" every bit a source of inspiration for the Beatles' song "Michelle".[102] American vocalist Meshell Ndegeocello released her ain tribute album Cascade une Âme Souveraine: A Dedication to Nina Simone in 2012. The post-obit year, experimental band Xiu Xiu released a cover album, Nina. In late 2019, American rapper Wale released an album titled Wow... That's Crazy, containing a runway called "Love Me Nina/Semiautomatic" which contains audio clips from Simone.

Simone's music has been featured in soundtracks of various move pictures and video games, including La Femme Nikita (1990), Point of No Return (1993), Shallow Grave (1994), The Large Lebowski (1998), Whatsoever Given Sun (1999), The Thomas Crown Affair (1999), Disappearing Acts (2000), Half dozen Feet Under (2001), The Dancer Upstairs (2002), Before Sunset (2004), Cellular (2004), Inland Empire (2006), Miami Vice (2006), Sex activity and the Metropolis (2008), The Earth Unseen (2008), Revolutionary Route (2008), Dwelling house (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 series including "Feeling Good", which featured prominently in the Season Four Promo of Six Anxiety Nether (2004). Simone's "Take Intendance of Business organization" is the closing theme of The Man from U.N.C.L.Due east. (2015), Simone's cover of Janis Ian'southward "Stars" is played during the final moments of the flavour three 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 Anger (2018).

Film [edit]

The documentary Nina Simone: La légende (The Legend) was made in the 1990s past French filmmakers and based on her autobiography I Put a Spell on You. It features live footage from different periods of her career, interviews with family, various interviews with Simone then living in the Netherlands, and while on a trip to her birthplace. A portion of footage from The Legend was taken from an earlier 26-infinitesimal 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 Stone Entertainment and is screened annually in New York City at an event chosen "The Rise and Autumn of Nina Simone: Montreux, 1976" which is curated by Tom Edgeless.[103]

Footage of Simone singing "Mississippi Goddam" for 40,000 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? [iii]

Plans for a Simone biographical film were released at the finish of 2005, to be based on Simone's autobiography I Put a Spell on You (1992) and to focus on her relationship in later life with her assistant, Clifton Henderson, who died in 2006; Simone'due south daughter, Lisa Simone Kelly, has since refuted the existence of a romantic human relationship between Simone and Henderson on account of his homosexuality.[104] Cynthia Mort (screenwriter of Will & Grace and Roseanne), wrote the screenplay and directed the 2016 film 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's life and music were released. The first, directed by Liz Garbus, What Happened, Miss Simone? was produced in cooperation with Simone's estate and her girl, who also served as the film's executive producer. The picture show was produced as a counterpoint to the unauthorized Cynthia Mort film (Nina, 2016), and featured previously unreleased archival footage. It premiered at the Sundance Picture show Festival in Jan 2015 and was distributed by Netflix on June 26, 2015.[109] Information technology was nominated on January fourteen, 2016, for a 2016 Academy Award for All-time Documentary Feature.[110]

The 2d documentary in 2015, The Amazing Nina Simone is an independent moving-picture show written and directed by Jeff L. Lieberman, who initially consulted with Simone's daughter, Lisa before going the contained road and then worked closely with Simone's siblings, predominantly Sam Waymon.[111] [112] The motion picture debuted in cinemas in October 2015, and has since played more than 100 theatres in 10 countries.[113]

Drama [edit]

She is the discipline of Nina: A Story Most Me and Nina Simone, a 1-adult female show showtime 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, before being scheduled to move to Edinburgh'due 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 of several books. They include Nina Simone: Don't Let Me Exist Misunderstood (2002) past Richard Williams; Nina Simone: Break Downward and Permit 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) past Andrew Stroud; and What Happened, Miss Simone? (2016) by Alan Light.

Simone inspired a book of poetry, Me and Nina, past Monica Paw,[116] and is the focus of musician Warren Ellis's book Nina Simone's Glue (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 city 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 N Carolina Music Hall of Fame in 2009.[119]

In 2010, a statue in her laurels 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 master'southward degree in 2021, named themselves in her honor. The conclusion was made that this promotion was henceforth to be known as 'la promotion Nina Simone' afterward a vote in 2017.[121]

Simone was inducted into the Stone and Roll Hall of Fame in 2018.[122]

The Proms paid a homage to Nina Simone in 2019, an effect called Mississippi Goddamn was performed past The Metropole Orkest at Imperial Albert Hall led by 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 Oct 28, 2013.
  3. ^ a b c d Liz Garbus, 2015 documentary moving-picture show, What Happened, Miss Simone?
  4. ^ a b "The Nina Simone Foundation". Archived from the original on June 19, 2008. Retrieved Dec 7, 2006.
  5. ^ Pierpont, Claudia Roth (August six, 2014). "A Raised Voice: How Nina Simone turned the movement into music". The New Yorker. Archived from the original on Baronial 6, 2014. Retrieved Baronial six, 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. sixteen
  11. ^ Cohodas 2010, p. 37
  12. ^ Simone & Cleary 2003, p. 26.
  13. ^ Hampton 2004, p. xv.
  14. ^ Shatz, Adam (March 10, 2016). "The Fierce Courage of Nina Simone". The New York Review of Books . Retrieved February 7, 2018.
  15. ^ "Mary Kate Irvin Waymon". Find a Grave . Retrieved February seven, 2018.
  16. ^ "Rev John Devan Waymon (1898-1972)". Observe a Grave. Retrieved February seven, 2018.
  17. ^ Simone & Cleary 2003, p. 21.
  18. ^ a b c Light, Alan. "Episode 3, What Happened, Miss Simone?, Book of the Calendar week - BBC Radio 4". BBC . Retrieved March 9, 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 east f Alan Light (2016). What Happened, Miss Simone? A Biography. Crown Archetype, ISBN 978-one-101-90487-nine
  21. ^ BarónALio-Lambert 2006, p. 56
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      Relevant remarks:
      Bardin: "You've been married and divorced and had many romances. Practice you withal become around?"
      Simone: "I had an intense love affair with a Tunisian boy last year, only I don't recollect I want to get involved for a long time again because he opened me up like a volcano, and it well-nigh 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 male child and spent a lot of time in Tunis, including the Carlton! The story ended badly and Nina told the press, 'I will never autumn in beloved again.'
    • Hunter, Kim D. (2003). "Nina Simone: And She Meant Every Word of Information technology!". Solidarity . Retrieved March 4, 2020. In her tardily sixties, she claimed to accept a 'volcanic' love affair with a young Tunisian.
    • Archived at Ghostarchive and the Wayback Auto: Sebastian, Tim (1999). Nina Simone on BBC HARDtalk. Upshot occurs at 4:45. Retrieved March 4, 2020.
      Relevant remarks:
      Sebastian: "You lot've been married before."
      Simone: "I've been married twice."
      Sebastian: "Have you been unlucky at love?"
      Simone: "Aye—unlucky at marriages. Not so unlucky at honey."
      Sebastian: "Lots of love, few marriages?"
      Simone: "Aye, two marriages."
      Sebastian: "Why didn't they work out?"
      Simone: "The music got in the way in the one where I married the cop from the United States [Andrew Stroud]. The music got in the style, and he treated me like a horse. Yous know, a nonstop workaholic equus caballus. And the i in Tunisia—well, that was very hot, similar a volcano. And his family didn't desire him to motion to French republic, and France didn't want him because he's a North African."
      Sebastian: "And the volcano didn't last?"
      Simone: "No, but it lasted long plenty for me to never forget it, I'll tell y'all that."
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Sources [edit]

  • Acker, Kerry (2004). Nina Simone. Introduction by Betty McCollum. Philadelphia: Chelsea House. ISBN978-0-791-07456-five.
  • 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. ISBNninety-5831-425-1.
  • Cohodas, Nadine (2010). Princess Noire: The Tumultuous Reign of Nina Simone . New York: Pantheon Books. ISBN978-0-375-42401-four.
  • Elliott, Richard (2013). Nina Simone. Icons of Popular Music. Sheffield, UK: Equinox. ISBN978-1-845-53988-7.
  • Hampton, Sylvia; Nathan, David (2004) [2004]. Nina Simone: Suspension Down and Let Information technology All Out. Introduction past Lisa Celeste Stroud. London: Sanctuary. ISBN1-86074-552-0.
  • Light, Alan (2016). What Happened, Miss Simone?: A Biography. New York: Crown Archetype. ISBN978-ane-101-90487-9.
  • 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, "Black is the Color...": A book of rare photographs of adolescence, family and early career with quotes in her own words. Introduction past Lisa Simone Kelly. Philadelphia: Xlibris. ISBN978-one-599-26670-1. [ 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 Permit Me Be Understood. Edinburgh: Canongate. ISBN978-1-841-95368-7.

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 Fierce Backbone 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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