Nina Simone

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Nina Simone

Eunice Kathleen Waymon, better known by her stage name Nina Simone (February 21, 1933 – April 21, 2003), was an American singer, songwriter, pianist, arranger and civil rights activist. Although she disliked being categorized, Simone is generally classified as a jazz musician. She preferred the term "Black Classical Music" herself. Simone originally aspired to become a classical pianist, but her work covers an eclectic variety of musical styles besides her classical basis, such as jazz, soul, folk, R&B, cabaret, gospel, and pop music. Her vocal style (with a rich alto vocal range[1]) is characterized by intense passion, breathiness, and tremolo. Sometimes known as the High Priestess of Soul, she paid great attention to the musical expression of emotions. Within one album or concert she could fluctuate between exuberant happiness or tragic melancholy. These fluctuations also characterized her own personality and personal life, worsened by a bipolar disorder with which she was diagnosed in the mid-sixties, but was kept secret until 2004.[2]

Simone recorded over 40 live and studio albums, the biggest body of her work being released between 1958 (when she made her debut with Little Girl Blue) and 1974. Songs she is best known for include "My Baby Just Cares for Me", "I Put a Spell On You", "I Loves You Porgy", "Feeling Good", "Sinnerman", "To Be Young, Gifted and Black", "Strange Fruit", and "Ain't got no-I got life". Her music and message made a strong and lasting impact on African-American culture[3], illustrated by the numerous contemporary artists citing her as an important influence (among them Alicia Keys, Jeff Buckley and Lauren Hill), as well as the extensive use of her music on soundtracks and in remixes.

Biography

Youth (1933–1954)

Simone was born Eunice Kathleen Waymon in Tryon, North Carolina, one of eight children. She began playing piano at her local church and showed prodigious talent on this instrument. Her concert debut, a classical piano recital, was made at the age of ten. During her performance, her parents, who had taken seats in the front row, were forced to move to the back of the hall to make way for white people. Simone refused to play until her parents were moved back.[4][5] This incident contributed to her later involvement in the civil rights movement.

Cover of Simone's debut album Little Girl Blue (1958), also known as Jazz as Played in an Exclusive Side Street Club

Simone's mother, Mary Kate Waymon (who lived into her late 90s) was a strict Methodist minister; her father, John Divine Waymon, was a handyman and sometime barber who suffered bouts of ill-health. Mrs. Waymon worked as a maid and her employer, hearing of Nina's talent, provided funds for piano lessons.[6] Subsequently, a local fund was set up to assist in Eunice's continued education. At seventeen, Simone moved to Philadelphia, Pennsylvania, where she taught piano and accompanied singers to fund her own studying as a classical music pianist at New York City's Juilliard School of Music. With the help of a private tutor she studied for an interview to further study piano at the Curtis Institute, but she was rejected. Simone believed that this rejection was directly related to her being black, as well as being a woman.[7] It further fueled her hatred of the widespread and institutionalized racism present in the U.S. during the period.

Early success (1954–1959)

Simone played at the Midtown Bar & Grill on Pacific Avenue in Atlantic City to fund her study. The owner said that she would have to sing as well as play the piano in order to get the job. She took on the stagename "Nina Simone" in 1954 because she did not want her mother to know that she was playing "the devil's music". "Nina" (meaning "little girl" in Spanish) was a nickname a boyfriend had given to her and "Simone" was after the French actress Simone Signoret, whom she had seen in the movie Casque d'or.[8] Simone played and sang a mixture of jazz, blues and classical music at the bar, and by doing so she created a small but loyal fan base.[9]

After playing in small clubs she recorded a rendition of George Gershwin's "I Loves You Porgy" (from Porgy and Bess) in 1958, which was learned from a Billie Holiday album and performed as a favor to a friend. It became her only Billboard top 40 hit in the United States, and her debut album Little Girl Blue soon followed on Bethlehem Records. Simone would never benefit financially from the album, because she sold the rights for 3000 dollars. It meant that she missed out on more than 1 million dollars of royalties (mainly because of the successful re-release of "My Baby Just Cares for Me" in the 1980s).[10]

Becoming "popular" (1959-1964)

After the success of Little Girl Blue, Simone signed a contract with the bigger label Colpix Records, followed by a string of studio and live albums. Colpix relinquished all creative control, including the choice of material that would be recorded, to Nina in exchange for her signing with them. Simone, who at this point only performed pop music to make money to continue her classical music studies, was bold with her demand for control over her music because she was indifferent about having a recording contract. She would keep this attitude towards the record industry for most of her career.[11]

Civil rights era (1964–1974)

This photo of Simone on the cover of Silk & Soul (1967) is characteristic of her stage appearance in the mid-sixties

Simone was made aware of the severity of racial prejudice in America by her friends Langston Hughes, James Baldwin and Lorraine Hansberry (author of the play Raisin in the Sun). In 1964, she changed record labels, from the American Colpix to the Dutch Philips, which also meant a change in the contents of her recordings. Simone had always included songs in her repertoire that hinted to her African-American origins (such as "Brown Baby" and "Zungo" on Nina at the Village Gate in 1962). But on her debut album for Philips, Nina Simone In Concert (live recording, 1964), Simone for the first time openly addresses the racial inequality that was prevalent in the United States with the song "Mississippi Goddam". It was her response to the murder of Medgar Evers and the bombing of a church in Birmingham, Alabama, killing four black children. The song was released as a single, being boycotted in certain southern states.[12][3] With "Old Jim Crow" on the same album she reacts to the Jim Crow Laws.

From then onwards, the civil rights message was standard in Simone's recording repertoire, where it had already become a part of her live performances. Simone performed and spoke at many Civil Rights meetings, such as at the Selma to Montgomery marches.[13] She covered Billie Holiday's "Strange Fruit" (on Pastel Blues (1965)), a song about the lynching of black men in the South, and sang the W.Cuney poem "Images" on Let It All Out (1966), about the absence of pride in the African-American woman. Simone wrote the song "Four Women" and sings it on Wild Is the Wind (1966). It is about four different stereotypes of African-American women.[3]

Simone again moved from Philips to RCA Victor in 1967. She sang "Backlash Blues", written by her friend 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 It Would Feel to Be Free" and "Turning Point". The last song illustrates how white children would get indoctrinated with racism at an early age. The album Nuff Said (1968) contains live recordings from the Westbury Music Fair, April 7th 1968, three days after the murder of Dr. Martin Luther King. She dedicated the whole performance to him and sang "Why? (The King Of Love Is Dead)", a song written by her bass player directly after the news of Dr. King's death had reached them.[14]

Together with Weldon Irvine, Simone turned the late Lorraine Hansberrys unfinished play "To Be Young, Gifted and Black" into a civil rights song. She performed it live on Black Gold (1970). A studio recording was released as a single, and the song became the official "National Anthem of Black America" and has been covered by Aretha Franklin (on 1972s Young, Gifted and Black) and Donny Hathaway.[15][3]

Later life (1974–2003)

Cover of Simone's last album A Single Woman (1993)

Simone left the United States in September 1970. The continuous performances and decline of the Civil Rights movement had exhausted her. She flew to Barbados, expecting her husband and manager, Andrew Stroud, to contact her when she had to perform again. However, Stroud interpreted Simone's sudden disappearance (and the fact that she left behind her wedding ring) as a cue for a divorce. As her manager, Stroud was also in charge of Simone's income. This meant that after their separation Simone had no knowledge about how her business was run, and what she was actually worth. Upon returning to the United States she also learned that there were serious problems with the tax authorities, causing her to go back to Barbados again.[16] Simone stayed in Barbados for quite some time, and had a lengthy affair with the Prime Minister, Errol Barrow.[17][18] A close friend, singer Miriam Makeba, convinced her to come to Liberia. After that she lived in Switzerland and the Netherlands, before settling in France in 1992. Simone's divorce from her husband and manager can be seen as the end of her most successful years in the American music business, and the beginning of her (partially self-imposed) exile and estrangement from the world for the next two decades.

After her last album for RCA Records, It Is Finished (1974), it was not until 1978 that Simone was convinced by CTI Records owner Creed Taylor to record another album, Baltimore. While not a commercial succes, the album did get good reviews and marked a quiet artistic renaissance in Simone's recording output. Her voice had not lost its power over the years, but developed an additional warmth and a vivacious maturity.[19] Her choice of material 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. It is one of her most personal albums, with nearly all of the (autobiographical) songs written by herself. In the 1980s Simone performed regularly at Ronnie Scott's jazz club in London, where the album Live At Ronnie Scott's was recorded in 1984. Though her on-stage style could be somewhat haughty and aloof, in later years, Simone particularly seemed to enjoy engaging her audiences by recounting sometimes humorous anecdotes related to her career and music and soliciting requests. Her autobiography, I Put a Spell on You, was published in 1992 and she recorded her last album, A Single Woman in 1993.

In 1993 Simone settled near Aix-en-Provence in Southern France. She had been ill with breast cancer for several years before she died in her sleep at her home in Carry-le-Rouet, Bouches-du-Rhône on April 21 2003, aged 70. Her funeral service was attended by singers Miriam Makeba and Patti Labelle, poet Sonia Sanchez, actor Ossie Davis and hundreds of others. Elton John sent a floral tribute with the message "We were the greatest and I love you".[20] Simone's ashes were scattered in several African countries. She left behind a daughter Lisa Celeste, now an actress/singer who took on the stagename Simone and has appeared on Broadway in Aida.[21]

Simone standards

Throughout her career, Simone gathered a collection of songs that would become standards in her repertoire (apart from the civil rights songs) and for which she is still remembered, even though most of these songs didn't do well on the charts at the time. These songs were self-written tunes, cover versions (usually with a new arrangement by Simone), or songs written especcially for Simone. Her first hit song in America was a cover of George Gershwin's "I Loves You Porgy" (1958). It peaked at number 18 in the pop singles chart and number 2 on the black singles chart.[22] In that same period Simone recorded "My Baby Just Cares for Me", which would become her biggest hit years later in 1987, when it featured in a Chanel no. 5 perfume commercial. A music video was then created by Aardman Studios.[23]

Well known songs from her Philips albums include "Don't Let Me Be Misunderstood" on Broadway-Blues-Ballads (1964), "I Put a Spell on You", "Ne Me Quitte Pas" and "Feeling Good" on I Put A Spell On You (1965), "Lilac Wine" and "Wild Is the Wind" on Wild is the Wind (1966).[24] Especcially the songs "Don't Let Me Be Misunderstood", "Feeling Good" and "Sinnerman" (Pastel Blues, 1965) have great popularity today in terms of cover versions (most notably The Animals's version of the former song), sample usage and its use on various movie-, TV-series- and videogame soundtracks.

Simone's years at RCA-Victor spawned a number of singles and album songs that were popular, particularly 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 pop charts and introducing her to a younger audience.[25] In 2006, it returned to the UK Top 30 in a remixed version by Groovefinder. The following single, the Bee Gees' "To Love Somebody" also reached the UK top 10 in 1969. "House of the Rising Sun" featured on Nina Simone Sings The Blues in 1967, but Simone had recorded the song earlier in 1961 (featuring on Nina At The Village Gate, 1962), predating versions by Dave Van Ronk and Bob Dylan.[26][27] It was later picked up by The Animals and became their signature hit.

Personality, style and viewpoints

Performing style

Simone's regal bearing and commanding stage presence earned her the title "High Priestess of Soul". Her live performances were regarded not as mere concerts, but as happenings. In a single concert she could be a singer, pianist, dancer, actress, activist, as well as both therapist and patient all simultaneously.[28] On stage Simone's versatility became truly evident, as she moved from gospel to blues, jazz and folk, to numbers infused with European classical styling, and counterpoint fugues. She incorporated monologues and dialogues with the audience into the program, and often used silence as a musical element.[29] Simone compared it to "mass hypnosis. I use it all the time"[15] Many recordings exist of her concerts, expressing fragments of her on-stage power, wit, sensuality and occasional menace towards her audience. Throughout most of her live and recording career she was accompanied by percussionist Leopoldo Flemming and guitarist and musical director Al Schackman.[30]

Being 'difficult'

Simone had a reputation in the music industry for being volatile and sometimes difficult to deal with, a characterization with which she strenuously took issue. In 1995, she shot and wounded her neighbour's son with a pneumatic pistol after his laughing disturbed her concentration.[31] She also fired a gun at a record company executive whom she accused of stealing royalties.[32] It is now recognised that this 'difficulty' was not just the result of an overly-perfectionist rigor, but her raging outbursts and diva-like extremes were actually the result of a psychiatric condition, most probably a bipolar disorder or borderline personality disorder. Simone reluctantly took medication for her condition from the mid sixties on.[33] All this was only known to a small group of intimates, and kept out of public view for many years, until the biography Break Down And Let It All Out written by Sylvia Hampton and David Nathan revealed this secret in 2004.

Honors

On Human Kindness Day 1974 in Washington DC more than 10,000 people paid tribute to Simone for her music and commitment to humanity.[34][35] Simone received two honorary degrees in music and humanities from the University of Massachusetts and Malcolm X College.[36] She preferred to be called "Dr. Nina Simone" after these honors were bestowed upon her.[37] Only two days before her death, Simone was awarded with an honorary diploma by the Curtis Institute, the school that had turned her down at the start of her career.[38]

Views on homosexuality

Simone's fanbase and personal circle included a significant amount of people with a homosexual orientation. Her view on homosexuality can be described as ambivalent.[39] On the one hand her viewpoint was colored by her strict religious upbringing, opposing sexual diversity. On the other hand Simone was aware of the sexual diversity within her fanbase and the entertainment industry.[40] A lot of the people close to her were homosexual, among those her younger brother, Lorraine Hansberry, Langston Hughes, James Baldwin and the founders of her European fanclub, David Nathan and Sylvia Hampton. The latter two stated in their biography about Simone that she had no problem with gay people, as long as she did not have to hear about it explicitly.[39][41] There are reports of Simone having intimate relationships with women, among them the daughter of choreographer Katherine Dunham, Marie-Christine.[42] However, these episodes are small in comparison with the numerous intimate relationships Simone had with men.

Legacy

Nina Simone is often cited by artists from diverse musical fields as a source of inspiration. Musicians who have cited her as important for their own musical upbringing are among others Jeff Buckley, Lauren Hill, Alicia Keys, and Mary J. Blige.[3] [43] [44] [45] John Lennon cited Simone's version of "I Put a Spell on You" as a source of inspiration for the Beatles song "Michelle".[45] Musicians who have covered her work (or her specific renditions of songs) include Jeff Buckley, David Bowie, Aretha Franklin, Donny Hathaway, The Animals, Muse, Michael Bublé, Katie Melua and Feist. Simone's music has featured in soundtracks of various motion pictures and video games. Her music is frequently used in remixes, commercials and TV series.

On soundtracks

A contemporary view of Nina Simone on the cover of Remixed and Reimagined (2006)

On film

The documentary Nina Simone: La Legende (The Legend) was made in the 90's by French filmakers.[15] It was based on her autobiography I Put A Spell On You and features live footage from different periods of Nina's career, interviews with friends and family, various interviews with Nina herself while she was living in the Netherlands, and on a trip to her birthplace. A significant amount of footage from The Legend was taken from an earlier 26-minute biographical documentary by Peter Rodis, released in 1969 and titled simply 'Nina'.

Plans for a Nina Simone biographical film were released at the end of 2005. The movie will be based on Nina Simone's autobiography I Put A Spell On You (1992) and will also focus on her relationship in later life with her assistant, Clifton Henderson, who died in 2006. TV writer Cynthia Mort (Will & Grace, Roseanne) is working on the script, and singer Mary J. Blige will take on the lead role. The movie is scheduled for 2009.[46]

References in songs

Artist(s) Song Quote
Lauryn Hill (Fugees) "Ready or Not" While you're imitating Al Capone, I'll be Nina Simone, and defecatin' on your microphone.
Kanye West "Get by Remix" I'm packing weight like Nina Simone piano flow.
Talib Kweli "Get by Remix" I send a rest in peace to Nina Simone.
Talib Kweli (Reflection Eternal) "The Blast" if not, then just let it be like Nina Simone.
Talib Kweli (Reflection Eternal) "Expansion Outro" Entire song is a tribute to Simone's "Four Women"
The Hold Steady "The Swish" My name is Neal Schon but people call me Nina Simone.
Joshua Radin "These Photographs" You're Nina Simone, when you talk on the phone.
Aloe Blacc "Whole World" And the whole world's in love with Simone.
A Silver Mt. Zion "God Bless Our Dead Marines" Who among us will avenge Ms. Nina Simone?
Mos Def "Rock 'n Roll" You may dig on the Rolling Stones, but they could never ever rock like Nina Simone.
Marla Glen "Travel" I met a woman, Nina Simone, She taught me how to write.
DJ Fresh, MC Darrison "All That Jazz" Last night I fell asleep in my home, had a little dream of Nina Simone.
Joe Strummer and the Mescalero's "Global-a-Go Go" Nina Simone over Sierra Leone.
Damien Dempsey "Teachers" Nina Simone could make me feel so high.

Discography

Cover of the autobiographical album Fodder On My Wings (1982)
Year Album Type Label
1958 Little Girl Blue Studio Bethlehem Records
1959 Nina Simone And Her Friends Studio Bethlehem
1959 The Amazing Nina Simone Studio Colpix Records
1959 Nina Simone At Town Hall Live and studio Colpix
1960 Nina Simone At Newport Live Colpix
1960 Forbidden Fruit Studio Colpix
1962 Nina At The Village Gate Live Colpix
1962 Nina Simone Sings Ellington Live Colpix
1963 Nina’s Choice Compilation Colpix
1963 Nina Simone At Carnegie Hall Live Colpix
1964 Folksy Nina Live Colpix
1964 Nina Simone In Concert Live Philips Records
1964 Broadway-Blues-Ballads Studio Philips
1965 I Put A Spell On You Studio Philips
1965 Pastel Blues Studio Philips
1966 Nina Simone With Strings Studio (strings added) Colpix
1966 Let It All Out Live and studio Philips
1966 Wild Is The Wind Studio Philips
1967 High Priestess Of Soul Studio Philips
1967 Nina Simone Sings The Blues Studio RCA Records
1967 Silk & Soul Studio RCA
1968 Nuff Said Live and studio RCA
1969 Nina Simone And Piano Studio RCA
1969 To Love Somebody Studio RCA
1970 Black Gold Live RCA
1971 Here Comes The Sun Studio RCA
1972 Emergency Ward Live and Studio RCA
1974 It Is Finished Live RCA
1978 Baltimore Studio CTI Records
1980 The Rising Sun Collection ? Enja
1982 Fodder On My Wings Studio Carrere
1985 Nina’s Back Studio VPI
1985 Live & Kickin Live VPI
1987 Let It Be Me ? Verve
1987 Live At Ronnie Scott's Live Hendring-Wadham
1993 A Single Woman Studio Elektra Records
Additional
1969 A Very Rare Evening Live ?
2004 Nina Simone’s Finest Hour ? Verve/Universal
2005 The Soul of Nina Simone ? RCA DualDisc
2006 The Very Best of Nina Simone Compilation ?
2006 Remixed and Reimagined Remix Legacy/SBMG

References

  1. ^ Brun-Lambert. Nina Simone, het tragische lot van een uitzonderlijke zangeres. pp. p. 57. {{cite book}}: |pages= has extra text (help)
  2. ^ Hampton. Break Down And Let It All Out. pp. pp. 9-13. {{cite book}}: |pages= has extra text (help)
  3. ^ a b c d e Mark Anthony Neal (2003-06-04). "Nina Simone: She Cast a Spell—and Made a Choice". Retrieved 2007-08-14. {{cite web}}: Unknown parameter |month= ignored (help)CS1 maint: date and year (link)
  4. ^ Simone. I Put a Spell on You. pp. p. 26. {{cite book}}: |pages= has extra text (help)
  5. ^ Hampton. Break Down And Let It All Out. pp. p. 15. {{cite book}}: |pages= has extra text (help)
  6. ^ Simone. I Put a Spell on You. pp. p. 21. {{cite book}}: |pages= has extra text (help)
  7. ^ Simone. I Put a Spell on You. pp. pp. 41-43. {{cite book}}: |pages= has extra text (help)
  8. ^ Brun-Lambert. Nina Simone, het tragische lot van een uitzonderlijke zangeres. pp. p. 56. {{cite book}}: |pages= has extra text (help)
  9. ^ Simone. I Put a Spell on You. pp. pp. 48-52. {{cite book}}: |pages= has extra text (help)
  10. ^ Simone. I Put a Spell on You. pp. p. 60. {{cite book}}: |pages= has extra text (help)
  11. ^ Simone. I Put a Spell on You. pp. p. 65. {{cite book}}: |pages= has extra text (help)
  12. ^ Simone. I Put a Spell on You. pp. pp. 90-91. {{cite book}}: |pages= has extra text (help)
  13. ^ "The Nina Simone Web: Chronology". 2003. Retrieved 2007-08-05. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  14. ^ Simone. I Put a Spell on You. pp. pp. 114-115. {{cite book}}: |pages= has extra text (help)
  15. ^ a b c Lords, Frank (1992). Nina Simone, La Legende (documentary) (DVD). France, United Kingdom: Quantum Leap. {{cite AV media}}: External link in |title= (help)
  16. ^ Simone. I Put a Spell on You. pp. pp. 120-122. {{cite book}}: |pages= has extra text (help)
  17. ^ Simone. I Put a Spell on You. pp. pp. 129-134. {{cite book}}: |pages= has extra text (help)
  18. ^ Brun-Lambert. Nina Simone, het tragische lot van een uitzonderlijke zangeres. pp. p. 231. {{cite book}}: |pages= has extra text (help)
  19. ^ Celeste Sunderland (2005-07-01). "All about Jazz: review "Fodder on My Wings" & "Baltimore"". Retrieved 2007-08-05. {{cite web}}: Unknown parameter |month= ignored (help)CS1 maint: date and year (link)
  20. ^ "BBCnews: Funeral held for singer Simone". 2003-04-25. Retrieved 2007-07-22. {{cite web}}: Unknown parameter |month= ignored (help)CS1 maint: date and year (link)
  21. ^ Jonathan Frank. "Talking Broadway Seattle: Aida". Retrieved 2007-08-14.
  22. ^ "Allmusic Guide: "I Loves You Porgy" Billboard chart position". Retrieved 2006-12-07.
  23. ^ Mauro Boscarol. "Nina Simone Web: My Baby Just Cares for Me". Retrieved 2006-12-07.
  24. ^ Hampton. A Musical Odyssey (David Nathan) in: Break Down And Let It All Out. pp. pp. 196-202. {{cite book}}: |pages= has extra text (help)
  25. ^ Hampton. Break Down And Let It All Out. pp. p. 47. {{cite book}}: |pages= has extra text (help)
  26. ^ Mauro Boscarol. "Nina Simone Web: House of the Rising Sun". Retrieved 2006-12-07.
  27. ^ Hampton. A Musical Odyssey (David Nathan) in: Break Down And Let It All Out. pp. pp. 202-214. {{cite book}}: |pages= has extra text (help)
  28. ^ "L'hommage: Nina Simone Biography". Retrieved 2007-08-14. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  29. ^ Roger Nupie. "Dr. Nina Simone: Biography". Retrieved 2007-08-14. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  30. ^ Simone. I Put a Spell on You. pp. pp. 58-59. {{cite book}}: |pages= has extra text (help)
  31. ^ "BBC Obituary: Nina Simone". 2003-04-21. Retrieved 2006-12-07. {{cite web}}: Unknown parameter |month= ignored (help)CS1 maint: date and year (link)
  32. ^ Tim Sebastian (1999-03-25). "BBC Hard Talk: Putting Music First". Retrieved 2006-12-07. {{cite web}}: Unknown parameter |month= ignored (help)CS1 maint: date and year (link)
  33. ^ Hampton. Break Down And Let It All Out. pp. pp. 9-13. {{cite book}}: |pages= has extra text (help)
  34. ^ Hampton. Break Down And Let It All Out. pp. p. 85. {{cite book}}: |pages= has extra text (help)
  35. ^ John Kelly. "Answer Man: Kindness Turned Brutality". Retrieved 2007-01-05.
  36. ^ Jody Kolodzey. "Remembering Nina Simone". Retrieved 2006-12-07.
  37. ^ Eric Hanson (2004). "A Diva's Spell" (pdf). Williams Alumni Review. Retrieved 2006-12-07. {{cite web}}: Cite has empty unknown parameter: |1= (help)
  38. ^ "The Nina Simone Foundation". Retrieved 2006-12-07.
  39. ^ a b Hampton. Break Down And Let It All Out. pp. p. 76. {{cite book}}: |pages= has extra text (help)
  40. ^ Hampton. Break Down And Let It All Out. pp. p. 48. {{cite book}}: |pages= has extra text (help)
  41. ^ Hampton. Break Down And Let It All Out. pp. p. 124. {{cite book}}: |pages= has extra text (help)
  42. ^ Brun-Lambert. Nina Simone, het tragische lot van een uitzonderlijke zangeres. pp. pp. 195-196 and pp. 270-271. {{cite book}}: |pages= has extra text (help)
  43. ^ Jennifer Vineyard (2005). "Mary J. Wants To Bring Nina Simone Back To Life". Retrieved 2007-08-14. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  44. ^ Raymond Fiore. "Entertainment Weekly: Seven who influenced Alicia Keys' Life". Retrieved 2007-08-14. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  45. ^ a b "The Nina Simone Web: Influenced by Nina". Retrieved 2007-08-14. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  46. ^ Untitled Nina Simone Project at IMDB.com

Further reading

  • Brun-Lambert, David. Nina Simone, het tragische lot van een uitzonderlijke zangeres (in Dutch and translated from French original). Introduction by Lisa Celeste Stroud, afterword by Gerrit de Bruin. Zwolle: Sirene. ISBN 90-5831-425-1. {{cite book}}: Cite has empty unknown parameter: |origdate= (help); Unknown parameter |origmonth= ignored (help)CS1 maint: unrecognized language (link)
  • Feldstein, Ruth (March 2005). ""I Don't Trust You Anymore": Nina Simone, Culture, and Black Activism in the 1960s". Journal of American History. 91 (4).
  • Hampton, Sylvia. Break Down and Let It All Out. David Nathan, introduction by Lisa Celeste Stroud. London: Sanctuary. ISBN 1-86074-552-0. {{cite book}}: Cite has empty unknown parameter: |origdate= (help)
  • Simone, Nina (2003) [1992]. I Put a Spell on You. introduction by Dave Marsh (2nd edition ed.). New York: Da Capo Press. ISBN 0-306-80525-1. {{cite book}}: |edition= has extra text (help); Cite has empty unknown parameter: |1= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)

External links

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