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“Literary Hub » What It Was Like to See Nina Simone at the Village Gate, c.”
“Her full-body performance expressed her intentions rather than her audience’s expectations.”
“1961 Soyica Diggs Colbert on the Ways Black Freedom Movements Influenced the Singer’s Repertoire Via W.W.”
“The audience may have also heard echoes of Mahalia Jackson’s gospel-inspired 1960 recording of the song.”
“When Simone sang “Brown Baby,” she invited the example of the composer Oscar Brown Jr.”
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“The potential danger of her political turn came into sharp relief when she gave dimensions to a sound that would envelop the audience.”
“The folk tradition, especially, connected her to international Black freedom movements that emphasized labor conditions as a key part of the struggle.”
“Her rendition situated her as a part of the South African diaspora that drew musical inspiration from Africa as well as from the American folk music scene.”
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“Within the Gate she built for herself a place that could gently hold her.”
“A review of the performance recalled, “At the end of the last group of songs, the audience rose to its feet and would not be satisfied until Miss Simone returned and performed once more for them.”
“Said to be inspired by English folk songs, the Appalachian artists Tom Ashley and Gwen Foster first recorded it in 1933.”
“Miriam Makeba recorded “House of the Rising Sun” in 1960.”
“Author of the award-winning Radical Vision: A Biography of Lorraine Hansberry , she has written for the New York Times and Washington Post .”
“The audience came to a famous nightclub to hear a jazz star, but what she has conveyed is that when they arrived at 185 Thompson Street, they entered a sacred place of her divining.”