WRTI, my jazz & classical station, just played a version of Nina Simone’s “Love Me Or Leave Me” and I found this, live. Watch:
Trigger warning for the second half (Strange Fruit). Seriously. Major Trigger:
Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop.
The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist.[1] With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City.[2] She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well-received audition,[3] which she attributed to racial discrimination. In 2003, just days before her death, the Institute awarded her an honorary degree.[4]
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to "Nina Simone" to disguise herself from family members, having chosen to play "the devil's music"[3] or so-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 vocalist.[5] She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with "I Loves You, Porgy".[
en.wikipedia.org/…
OMG: “I love you, Porgy”:
www.newyorker.com/…
Known for her sophisticated pianism, her imperious attitude, and her velvety rendition of “I Loves You, Porgy” (which, like Billie Holiday before her, she sang without the demeaningly ungrammatical “s” on “loves”), she had arrived in New York in late 1958, establishing her reputation not in Harlem but in the clubs of hip and relatively interracial Greenwich Village. Her repertoire of jazz and folk and show tunes, often played with a classical touch, made her impossible to classify. In these early years, she performed African songs but also Hebrew songs, and wove a Bach fugue through a rapid-fire version of “Love Me or Leave Me.” She tossed off the thirties bauble “My Baby Just Cares for Me” with airy insouciance, and wrung the heart out of the lullaby “Brown Baby”—newly written by Oscar Brown, Jr., about a family’s hopes for a child born into a better racial order—erupting in a hair-raising wail on the word “freedom,” as though registering all the pain over all the years during which it was denied. For a while, “Brown Baby” was as close to a protest song as Simone got. She believed it was enough.
She was brilliant, of course, and you should watch all the clips as time allows, but you really have to watch this one, recorded live:
No diary about Nina Simone would be complete w/o what is most certainly appropriate for our time, too: “Mississippi Goddam.” Now w/helpful Greek subtitles! More from the New Yorker piece linked above:
It took her an hour to write “Mississippi Goddam.” A freewheeling cri de coeur based on the place names of oppression, the song has a jaunty tune that makes an ironic contrast with words—“Alabama’s got me so upset, Tennessee made me lose my rest”—that arose from injustices so familiar they hardly needed to be stated: “And everybody knows about Mississippi, goddam!” Still, Simone spelled them out. She mocked stereotypical insults (“Too damn lazy!”), government promises (“Desegregation / Mass participation”), and, above all, the continuing admonition of public leaders to “Go slow,” a line that prompted her backup musicians to call out repeatedly, as punctuation, “Too slow!” It wasn’t “We Shall Overcome” or “Blowin’ in the Wind”: Simone had little feeling for the Biblically inflected uplift that defined the anthems of the era. It’s a song about a movement nearly out of patience by a woman who never had very much to begin with, and who had little hope for the American future: “Oh but this whole country is full of lies,” she sang. “You’re all gonna die and die like flies.”