The purpose of this review will be to examine
Nina Simone’s work through the use of select songs by the ‘High Priestess of
Soul’ predominantly between the mid-60s to the mid-70s. Simone, a classically trained
pianist and vocalist studied at the Juilliard School in New York. She became
one of the most influential jazz musicians in the world; a true pioneer in
legitimizing Black music in jazz subculture (Huffpost Black Voices, 2012) . Simone was also a
prominent civil rights activist and incorporated messages of peace and freedom
in many of her songs. Her lyrics focussed on black civil rights and had a
direct message—equality. This review
will take a celebratory approach to Simone’s music and relate with her lyrics
in context of peace in the contemporary world. I will start by examining
concepts of ‘race’ in Simone’s era of civil rights followed by a discussion of
more modern constructs of ‘race’. Discrimination goes hand-in-hand with
conditionality and I aim to use Simone’s music to give deeper insight to power
relations in our world today. I will then use her songs, specifically Four Women and I Ain’t got no…I’ve got life to discern Simone’s messages about
feminism and it’s intersections with race. How relevant are Simone’s words
today? Can Simone’s views be relevant in discussions about peace, conflict and
gender constructions today?
Mississippi Goddam – “You don’t have to live next to me just
give me my equality!”
Nina
Simone’s Mississippi Goddamn is one
of her most unabated and contempt-laden tracks guised as a show-tune. In this
song, Simone is enraged about the treatment of black people in the southern
states and this politically charged exposition illustrates the power behind
Simone’s voice and message. She wrote the song in 1964, which provides a good
starting point for this review, as her music and lyrics undergo a sharper
political turn. She examines civil rights discourse of “going slow”, that is to
say, black people should advocate for freedom in baby-steps. She exclaims,
“…desegregation ‘do it slow’, mass participation ‘do it slow’… do things
gradually… but bring more tragedy” (Mississppi Goddam 1964). She asserts that she simply does not
understand how the ‘slow process’ of freedom could bring about effective
change. The nuance Simone highlights in the song is critical of white power and
its ability to constrict the lives of black people. There is an inherent structure of
white-dominance of which Simone is critically aware. To borrow a concept from
Susan Sell, Nina Simone is aware that the agency of black people is structured
by the politics of her time (Sell 2005). Simone’s music aims to go against the
grain of ‘acceptance discourse’ and she calls for a true break from the
structures which continue to oppress blacks and prevent equality. A more direct
prescription for equality can be found in Simone’s song Revolution where she claims “the only way we can stand in fact is
when you get your foot off our back”. In Revolution
she breaks away from the non-violent methods claimed by Martin Luther King Jr. and
is effectively calling for an uprising. She goes beyond the civil politics
approach, which she blames for its lethargy in Mississippi Goddamn—as being too slow—and believes that blacks
continue to be oppressed through direct means of state control. There is a
blatant reference to violence in this song and it may not be a farfetched claim
that violence is at times necessary for structural change. Simone further calls for a change of order in
her phrase “Yeah your constitution, well my friend, it’s going to have to bend,
I’m here to tell you about the destruction, of all the evil that will have to
end” (Revolution 1969). Listening to this song today, parallels can be drawn
with contemporary concepts of ‘direct democracy’ due to Simone’s advocacy of
mass participation and grassroots change. She is not calling for an “eye for an
eye” but rather viewing equality beyond legally constructed rights.
I assert
that perhaps Nina Simone’s revolutionary message is relevant in modern times. An
interesting contemporary example of racial tensions is present in the
post-disaster Hurricane Katrina situation. Contemporary rights discourse is
embedded within paradigms of climate justice along with gender issues. Robert
Bullard, who is considered the father of environmental justice, is very
critical of the treatment of black Americans during post-Katrina relief and
rebuilding. He argues, “All communities
are not created equal. If a community is poor, black or on the wrong side of
the tracks, it receives less protection than suburbs inhabited by affluent
whites” (Bullard & Wright, 2009) . This argument is
shares relevance with Simone’s idea that rights are always contentious. Yes,
things have changed since Simone’s civil rights era songs, but, power relations
remain asymmetrical in the hands of whites.
Equality too, remains an ideal; a standard that is disconnected from
social reality. Simone’s cover of Billie
Holiday’s Strange Fruit is eerily
relevant to Hurricane Katrina, especially the phrase, “black bodies swinging in
the southern breeze” (Strange Fruit 1965). Billie Holiday first sang this song in 1939,
followed by Simone’s version in 1965. Interestingly, the song kept its
relevance for more than two decades, and I would argue that it remains relevant
today. The fact that black Americans were disproportionately affected by a
‘natural’ disaster due to pre-disaster housing situations and lack of
appropriate hurricane precautions, in predominantly black neighbourhoods,
brings to light historically instilled constraints on black livelihoods.
Furthermore, media coverage of black bodies during the disaster had no concept
of shame and was indiscriminate in showing black morbidity and death (Bullard &
Wright, 2009) .
As Simone highlights in many of her songs, whites continue to dominate and
restrict the political agency of racial minorities. Class tensions, especially
in the Southern states are directly linked with race and racialization. To
reiterate, equality must go beyond legislation and must aim to empower the
grassroots.
Four Women/Ain’t Got No…I’ve Got Life – “I’m awfully bitter these days, because my parents were
slaves”/ “I’ve got life, I’ve got my freedom, I’ve got the life”
A discussion
of Simone’s music must be combined with a discussion on gender intersections
with race. Nina Simone was a true revolutionary of her time and it cannot be
ignored how difficult it was to be a black artist in the civil rights era.
Agency, to quote Susan Sell once more, was certainly structured in favour of
white males. Simone was also performing
at the onset of second-wave feminism in the 1960s and 70s and her music at
times was empowering regardless of race. She asserted black feminism and made
this very clear in the song Four Women
where she is critical of the stereotypes of black women. She sings, “Strong
enough to take the pain, inflicted over and over again…My name is Aunt Sarah…
My father was rich, and white, he forced my mother late one night…My name is
Saffronia” (Four Women 1966). The lyrics have resonance because it brings to
light common discourse around black females; Simone intersects racial discourses
with notions of gender. That is to say,
she is critical of black stereotypes whether it is housemaid (Aunt Sarah),
rape-victim/mixed-girl (Saffronia), prostitute (Sweet Thing), or an oppressed,
embittered woman (Peaches). This song is aware of the historical contexts in
which people are ‘produced’. The historically produced eras of black oppression
and slavery, according to Simone, shapes personalities and fuels further stereotyping.
Barriers to empowerment are placed by static constructs of women and Simone is
an advocate of a strong black identity.
On a broader
scale, especially in relation to post-conflict studies, the roles of women are
still considered static. As Mary Moran points out, war and peace is a gendered
process. A correlation is drawn between motherhood and peace building and the
horrors of war are thus, paradoxically credited with women’s liberation (Moran
2010). I would argue that strength is then often linked, through constructed
stereotypes, to masculinity. Furthermore, women’s roles in peace building
occur simultaneously with violence against women. The post-conflict situation
re-asserts patriarchy that was, arguably, subdued during conflicts. As Donna Pankhurst argues, “Even where the
political and legal apparatus is in place to allow women to take part in
political life, their level of political participation tens to remain lower
than men’s” (Pankhurst 2008). Political agency is rigidly structured by
patriarchy and international economic coercion. Importantly, Simone’s song Four Women is useful in pointing out how
concepts of gender and race intersect and perpetuate these dominant
hierarchies. Black females, especially
in the civil rights era, were among the bottom rungs of society due to their
lack of agency. Similarly, the
neoliberal moment in post-conflict scenarios, regardless of all its impetus on
gender equity, is unaware of historical processes of gender roles and
sexuality. As Simone’s music may attest to, there are no one-size-fits-all
models to structural change; however, it is also important to look at Simone’s
ideas of empowerment especially in the song I
Ain’t got no…I’ve got life.
I Ain’t got no…I’ve got life, feels like a song split in two
parts. Simone starts with listing all the things she does not have, singing,
“Ain’t got no home, ain’t got no shoes, Ain’t got no money, ain’t got no class”
(I Ain’t Got No…I’ve got life 1968).
This is important as the switch to empowerment is not linked with a rise
in affluence for black females. Simone does not start talking about the riches
one has access to post-civil rights. Simone’s lyrics are very much still in the
context of poverty, the song is directed towards the underclasses and Simone is
aware that struggle continues to exist. However, the second part of the song
switches focuses to a celebration of life. Simone sings, “I got my heart, I got
my soul, I got my back, I got my sex…I’ve got life, I’ve got my freedom, I’ve
got the life” (I Ain’t got no…I’ve got life 1968). Importantly, these lyrics do not glorify
poverty but rather emphasise that life is beautiful regardless of affluence.
Simone is appreciative of her existence and the message of empowerment is
clear. She celebrates her own agency and her ability to speak her mind; she
asserts that nothing can strip away her dignity. Furthermore, this song shows
how mindful Simone is of her sexuality. She is proud of her femininity and this
message was perhaps doubly significant in relation to second-wave feminist
movements in the 60s. Importantly,
Simone’s message goes beyond western ideas of sexual liberation and is
empowering across cultures. Simone’s passion transcends time and space and
parallels empowerment movements in the global south today. Simone’s music goes
beyond economic liberation and focuses on self-worth and community building as
seen in Revolution. It is important
to make the distinction between liberation and empowerment; the latter focuses
on political agency and a celebration of identity as opposed to an infiltration
of Western concepts of neocolonialism.
The Times are a Changin’ - “Then you better start singing or you’ll sink like a stone”
Simone covers Bob Dylan’s political anthem The Times are a Changin’ on her last released album in 1993. Simone aims to draw parallels between social uprising in the 60s to the present day which is in line with her views that struggle is constant. Simone remains politically engaged despite her age and continued to produce politically relevant music. This review has tracked Nina Simone’s music from the civil rights era and examined its relevance in contemporary times. Paradoxically, constructs of race and gender continue to remain fraught. Neoliberal-led development, on one hand emphasises racial and gender equity but is simultaneously ignorant of historical facets and colonial links. In terms of post-conflict studies, Simone’s views are significant in examining identity politics at play in the Global North and South. Importantly, Simone’s music is critical of power asymmetries embedded within society. Her messages of empowerment and social change assert structural approaches to political agency and development. On a personal level, Nina Simone’s music has provided an introduction to my understanding of soul music. Artists such as Nina, Ella Fitzgerald, Aretha Franklin, Etta James, and Billie Holiday appear to me in conjunction with each other and exist, to me, in similar contexts. More contemporary acts such as Feist, John Legend, Lauryn Hill and Jeff Buckley also borrow stylistically from Nina. Music, like academia and literature, is multidimensional and built upon historically; artists are able to converse with each other over time and space. To close, Nina Simone’s voice remains iridescent and nuanced; her undertones of empowerment and racial tension speak beyond the civil rights era and many parallels can be drawn to development issues today.
Simone covers Bob Dylan’s political anthem The Times are a Changin’ on her last released album in 1993. Simone aims to draw parallels between social uprising in the 60s to the present day which is in line with her views that struggle is constant. Simone remains politically engaged despite her age and continued to produce politically relevant music. This review has tracked Nina Simone’s music from the civil rights era and examined its relevance in contemporary times. Paradoxically, constructs of race and gender continue to remain fraught. Neoliberal-led development, on one hand emphasises racial and gender equity but is simultaneously ignorant of historical facets and colonial links. In terms of post-conflict studies, Simone’s views are significant in examining identity politics at play in the Global North and South. Importantly, Simone’s music is critical of power asymmetries embedded within society. Her messages of empowerment and social change assert structural approaches to political agency and development. On a personal level, Nina Simone’s music has provided an introduction to my understanding of soul music. Artists such as Nina, Ella Fitzgerald, Aretha Franklin, Etta James, and Billie Holiday appear to me in conjunction with each other and exist, to me, in similar contexts. More contemporary acts such as Feist, John Legend, Lauryn Hill and Jeff Buckley also borrow stylistically from Nina. Music, like academia and literature, is multidimensional and built upon historically; artists are able to converse with each other over time and space. To close, Nina Simone’s voice remains iridescent and nuanced; her undertones of empowerment and racial tension speak beyond the civil rights era and many parallels can be drawn to development issues today.
Works Cited
Bullard, R., &
Wright, B. (2009). "Introduction" and "Chapter 1: Race, Place
and Environment Post-Katrina New Orleans". In R. Bullard, & B. Wright
(Eds.), Race Place and Environmental Justce After Hurricane Katrina
(pp. 1-9 19-47). Westview Press.
Dylan, B. (1993). The
Time's Are A Changin'. (N. Simone, Performer)
Holiday, B.
(Composer). (1965). Strange Fruit. [N. Simone, Performer, & B. Holiday,
Conductor] On Pastel Blues. New York City, New York, USA.
Huffpost Black
Voices. (2012, October 31). Nina Simone. Retrieved from The Offical
Home of Nina Simone - The High Priestess of Soul: http://www.ninasimone.com/
Moran, M. (2010).
Gender, Militarism, and Peace-Building: Projects of the Postconflict Moment. Annual
Review of Anthropology, 261-274.
Pankhurst, D.
(2008). The Gendered Impact of Peace. In M. Pugh, N. Cooper, & M. Turner, Whose
Peace? Critical Perspectives on the Political Economy of Peacebuilding
(pp. 32-48). London: Palgrave Macmillan.
Rado, J., Ragni,
G., & MacDermot, G. (Composers). (1968). Ain't Got No...I've Got Life. [N.
Simone, Performer] On Nuff Said. New York City, New York, USA: RCA
Records.
Simone, N. (Composer).
(1964). Mississippi Goddam. [N. Simone, Performer, & H. Mooney, Conductor]
New York City, New York, USA.
Simone, N.
(Composer). (1966). Four Women. [N. Simone, Performer] On Wild is the Wind.
New York City, New York, USA: Phillips Records.
Simone, N.
(Composer). (1968). Revolution. [N. Simone, Performer, & W. Irvine,
Conductor] On To Love Somebody. New York City, New York, USA: R.
Studios.
Revolution - http://www.youtube.com/watch?v=4BTNjeKqpEk&feature=related
Strange Fruit - http://www.youtube.com/watch?v=BcCm_ySBslk
Four Women - http://www.youtube.com/watch?v=qCwME6Jpn3s
I ain't got no...I've got life -http://www.youtube.com/watch?v=GUcXI2BIUOQ
The Time They are a changin' -http://www.youtube.com/watch?v=nXaS4xiRTFY
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