By Kerry Acker
" История из серии (Женщины в искусстве) Nina Simone пианистка, квалифицированный импровизатор, душераздирающая певицаЕе музыка не поддается классификации; слияния элементы классической, поп-, джаз, госпел, фолк, ритм и блюз .Душа и ее звук являются уникальными. Nina Simone: classically proficient pianist, expert improviser, heartbreaking chanteuse, tempestuous diva, champion of civil rights, sour expatriate, and ever-controversial determine. just like the lady herself, her tune defies categorization; fusing components of classical, pop, jazz, gospel, people, rhythm and blues, and soul, her sound is exclusive. Her stay performances have been as mythical for his or her ardour and urgency as she used to be for her mood. Simone used to be profoundly delicate to the African-American adventure. She was once one of the first renowned performers ever to discuss race in track, and he or she lent her weight to the Civil Rights circulate from the outset. within the past due Sixties and Nineteen Seventies, her politics even threatened to overshadow her artwork -- yet even then, her skill to rework an easy music right into a spiritual adventure captivated the loads. all through her fifty-year profession, the incomparable excessive Priestess of Soul remained either astonishingly proficient and completely uncompromising."
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" История из серии (Женщины в искусстве) Nina Simone пианистка, квалифицированный импровизатор, душераздирающая певицаЕе музыка не поддается классификации; слияния элементы классической, поп-, джаз, госпел, фолк, ритм и блюз . Душа и ее звук являются уникальными. Nina Simone: classically educated pianist, expert improviser, heartbreaking chanteuse, tempestuous diva, champion of civil rights, sour expatriate, and ever-controversial determine.
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Simone wrote, “The way he put it was so simple, ‘Yes, I’m going with her, you’re not home. ’ ” (I Put a Spell on You, 35) When graduation time arrived, Eunice was the valedictorian 35 36 NINA SIMONE of her class. She also had qualified for a scholarship to the renowned Juilliard School of Music in New York City—a very rare opportunity for an African-American girl in the 1950s. Eunice was on her way to fulfilling her own dreams, as well as those of her mother and Mis Mazzy. It was their intention that Eunice Waymon become a concert pianist—the first AfricanAmerican concert pianist.
People were recognizing her on the street and lavishing her with praise. She was hobnobbing with celebrities at parties and receiving lots of attention from male admirers. She had some new friends, including the folksinger Odetta, and she became acquainted with Langston Hughes, James Baldwin, and Leroi Jones (later known as Amiri Baraka). She was enjoying her new life very much. Simone was divorced from Don Ross at this point, but she was terribly busy with bookings. A HYPNOTIC AND CONTROVERSIAL PERFORMER Simone’s live performances continued to draw huge, enthralled audiences, and they did so throughout her career.
So they moved them back. ” (I Put a Spell on You, 26) This moment represented a crossroads in Simone’s life. The Prodigy For the first time, she experienced directly and profoundly the sharp stab of racism. Though Tryon was a typical Southern town at the time— schools, hotels, and public facilities were all segregated — relations between the black and white community always had been cordial. But as Eunice grew older, she began to wonder why she wasn’t allowed to sit at the counter at the local pharmacy or use the restrooms at gas stations.