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Nina Simonee Research Papers

497 Words2 Pages

Simone began recording her music in the 50s under the Bethlehem label, releasing her first full album in 1957, which featured "Plain Gold Ring" and the title track "Little Girl Blue." It also included her one and only Top 20 pop hit with her version of "I Loves You Porgy" from the George and Ira Gershwin musical Porgy and Bess. Under different labels, Simone released a bevy of albums from the late '50s throughout the '60s and early '70s, including records like The Amazing Nina Simone (1959), Nina Simone Sings Ellington! (1962), Wild Is the Wind (1966) and Silk and Soul (1967). She also made cover songs of popular music, eventually putting her own spin on such songs as Bob Dylan's "The Times They Are A-Changin'" and the Beatles' "Here Comes the Sun." she showed her sensual side with tracks like "Take Care of Business" on 1965's I Put a Spell on You and "I Want a Little Sugar in My Bowl" on 1967's Nina Simone Sings the Blues. In many ways, Simone's music defied standard definitions. Her classical training showed through, no matter what genre of song she played, and she used different sources that included gospel, pop and folk. She was called the "High Priestess of Soul," but she hated that nickname. She didn't like the label of "jazz singer," either. If I had to be called something, it should have …show more content…

She wrote Mississippi Goddam in response to the 1963 assassination of Medgar Evers and the Birmingham church bombing that killed four young African-American girls. She also penned "Four Women, chronicling the complex histories of a quartet of African-American female figures, and "Young, Gifted and Black," borrowing the title of a play by Hansberry, which became a popular anthem. After the assassination of Reverend Martin Luther King Jr. in 1968, Simone's bassist Greg Taylor penned "Why (The King of Love Is Dead)," which was performed by the singer and her band at the Westbury Music

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428 Words | 2 Pages

Throughout her career, “Mills earned a reputation for her wondrous, high-pitched voice, unique dance movements and comedic timing that allowed her to become an unparalleled force during the Harlem Renaissance. With Mills quite aware of the racial dynamics of the day and wishing to make a difference, she also served as an icon for African-American performers and audiences of all backgrounds.” (Bio.) Mills was well recognized for amazing talents, and became more popular as she starred in “Shuffle Along”, “Plantation Revenue”, and “Blackbirds”. Starring in mostly musicals, Mills was recognized more for her beautiful voice, and was a huge star in Britain by 1926.

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1246 Words | 5 Pages

Sarah Breedlove, also known as Madam C.J. Walker, born on December twenty-third of eighteen sixty-seven in Delta, Louisiana. Sarah Breedlove is to be considered lucky as to which she was the first child in her family to be a “free-born” from slavery once her parents were allowed to leave. She lived a tragedy at such an early age of seven with the withdrawal of her parents’ lives in this world. Sarah was then later in the custody of her older sister.

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125 Words | 1 Pages

The greatest white female rock singer of the 1960s, Janis Joplin was also a great blues singer, making her material her own with her wailing, raspy, supercharged emotional delivery. First rising to stardom as the frontwoman for San Francisco psychedelic band Big Brother & the Holding Company, she left the group in the late '60s for a brief and uneven (though commercially successful) career as a solo artist. Although she wasn't always supplied with the best material or most sympathetic musicians, her best recordings, with both Big Brother and on her own, are some of the most exciting performances of her era. She also did much to redefine the role of women in rock with her assertive, sexually forthright persona and raunchy, electrifying on-stage

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1318 Words | 6 Pages

Among many of Josephine’s songs comes the song Don’t Touch Me Tomato, which seemed to be one of her more popular tunes. As many of the information on the nature of the song is difficult to find, I was able to figure out that Don’t Touch Me Tomato was composed by Jo Bouillon and performed by Josephine Baker and Peter Kreuder and his Orchestra. This song was considered under the genre of International Vocal and under the style of Vocal Pop. A recording of the song can be listened to using the URL found in the works-cited page at the end of the paper (Josephine Baker – Don’t Touch Me

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1331 Words | 6 Pages

However, she was a victim or at least that is how she viewed herself until music came into her

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723 Words | 3 Pages

It was around this time that Josephine first took up dancing, honing her skills, both in clubs and in street performances, by 1919 she was touring the United States with the Jones Family Band and the Dixie Steppers performing comedic skits. By 1921 she married her second husband, Willie Baker whose name she obtained even after they divorced years later. In 1925, France’s had an obsession with American jazz and all things

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1391 Words | 6 Pages

The hit “Freeway of Love”, was number 1 on R&B and 3 on Pop charts in 1985. Also in the late 80s she did more duets with other artists. The other artist includes George Michael, Whitney Houston, Elton John and Michael McDonald, to name a few. Also her duet with George Michael, “I Knew You Were Waiting (For Me)”, was number 1 on the pop charts and on the R&B charts it was number 5. Also she recorded another gospel album.

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220 Words | 1 Pages

Women’s Blues music in the 1920s and early 1930s served as liberation for the sexual and cultural politics of female sexuality in black women’s dissertation. Hazel V. Carby explores the ideology of the white feminist theory in her deposition, "It Jus Be 's Dat Way Sometime: The Sexual Politics of Women 's Blues", and critiques its views by focusing on the representation of feminism, sexuality, and power in black women’s blues music. She analyzes the sexual and cultural politics of black women who constructed themselves as sexual subjects through songs in blues music and explains how the representation of black female sexuality in black women’s fiction and in women’s blues differ from one another. Carby claims that these black women

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1800 Words | 8 Pages

As Hughes’ works were well published, African Americans, not just from Harlem, started to follow in his footsteps and create art that celebrated their skin colour. Professor Bercovitch argues that The Negro Artist and the Racial Mountain “embod[ies] the voice of the community”, attributing his popularity during the Harlem Renaissance to this communal voice that speaks for those who cannot (Bercovitch, 2003). In addition, in the 1960s, Hughes befriended the popular singer Nina Simone, encouraging her to use her music to further the civil rights movement. Hughes was an inspiration to Simone, who was already an established voice in popular culture and the civil rights movement. Hughes even wrote The Backlash Blues for Simone to perform as a protest song.

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993 Words | 4 Pages

The genre of blues exploded into the blues craze during the 1920’s. During this time, white record producers saw the untapped goldmine that was blues music performed by people of color. Ma Rainey was one of them, and to some, one of the first, giving her the title, ‘The Mother of Blues’. The 1920’s was not only an era of continuing homophobia from the past (although that would change, briefly, into a mild form of acceptance until the more conservative 1930’s), but also of harsh racism. And yet, one singer, Ma Rainey’s, broke these restrictions.

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1218 Words | 5 Pages

Because of this, and despite her “gawky and unkempt” appearance, he gave her the opportunity to sing with his band at a dance at Yale University as a test run. Webb was quoted for saying that “if the kids like her, she stays”. She was a raging success and true to his promise, Chick hired Ella to travel with the band. She recorded “Love and Kisses” with the band in 1935 and was soon a regular artist at the Savoy, one of Harlem’s hottest nightclubs. It didn’t take too long for Ella to emerge from the shadows and become a star attraction coming out with major hits such as her first number one single, “A-tisket, A-tasket”.

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1356 Words | 6 Pages

Amy Winehouse is a legend and the music she created was incredible. She sung in the styles of Jazz, Soul, Blues and reggae which made her popular to many audiences and instantly she was different from the rest. In this essay I intend to give you a brief overview on Amy’s background and then I will explore Amy Winehouse’s Vocal and musical influences such as Sarah Vaughan who was an American Jazz singer and many more. Once I’ve covered that topic I will go on to discuss her appeal to a contemporary audience. The resources I will be using are Websites based on Amy Winehouse’s musical influences, Her documentary and books such as ‘’Amy Amy Amy the Amy Winehouse story by Nick Johnstone’’ Amy was a Jewish girl who was born in England.

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923 Words | 4 Pages

There were many influential musicians of the Harlem Renaissance, yet Billie Holiday stands out as a sincere artist with a style all her own. While many artists used the characteristic scat singing, Holiday rarely sang the gibberish words and focused on the meaning of the song through her intense yet quiet voice. Despite the common Tin Pan Alley technique of plugging out songs simply to promote the sheet music, Holiday explored improvisation and made each song her own. Through her jazz improvisation, sincerity, and manipulation of phrasing, Billie Holiday created a revolutionary style of singing that many musicians copied in years to come.

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873 Words | 4 Pages

Dolly may have written the song, but Whitney’s voice owns

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670 Words | 3 Pages

Based on Simone's intimate performance, I can relate to her situation through her longing vocals. Allowing myself to express my feelings of unrequited love through her words. 0:00 Introduction: The piano, playing in low-key, sets the tempo in a brief opening. 0:08 Chorus 1, Section 1: Nina begins singing the lyrics. Simultaneously, the piano sets the motive in which

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