Hostname: page-component-8448b6f56d-t5pn6 Total loading time: 0 Render date: 2024-04-23T07:36:16.928Z Has data issue: false hasContentIssue false

“I Wish I Knew How It Would Feel to Be Free”: Nina Simone and the Redefining of the Freedom Song of the 1960s

Published online by Cambridge University Press:  18 July 2008

Abstract

This article explores the work of pianist/vocalist Nina Simone as the catalyst for a new type of freedom song in the black freedom movement during the 1960s. It examines the lyrical content and structure of Simone's music, which reflects the rhetorical and geographical shift of the transition from King's nonviolent, southern-based civil rights movement of the late 1950s to the mid-1960s to the militant black power nationalist movement of the late 1960s. Curtis Mayfield's Chicago soul style is also referenced as marking an important shift in mid-1960s R&B, which had largely avoided overt political statements.

Type
Research Article
Copyright
Copyright © The Society for American Music 2008

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Appleton, Clyde R. “Singing in the Streets of Raleigh, 1963: Some Recollections.” The Black Perspective in Music 3/3 (Autumn 1975): 243–52.Google Scholar
Breines, Winifred. The Trouble Between Us: An Uneasy History of White and Black Women in the Feminist Movement. New York: Oxford University Press, 2006.CrossRefGoogle Scholar
Burns, Peter. Curtis Mayfield: People Never Give Up. London: Sanctuary Publishing, 2003.Google Scholar
Carawan, Guy, comp. Freedom Is a Constant Struggle: Songs of the Freedom Movement. New York: Oak Publications, 1968.Google Scholar
Carson, Clayborne. In Struggle: SNCC and the Black Awakening of the 1960s. Cambridge, Mass.: Harvard University Press, 1981.Google Scholar
Colby, Paul, and Martin, Fitzpatrick. The Bitter End: Hanging out at America's Nightclub. New York: Cooper Square Press, 2000.Google Scholar
Davis, Townsend. Weary Feet, Rested Souls: A Guided History of the Civil Rights Movement. New York: W. W. Norton, 1998.Google Scholar
Filene, Benjamin. Romancing the Folk: Public Memory and American Roots Music. Chapel Hill: University of North Carolina Press, 2000.Google Scholar
Foner, Philip Sheldon. The Black Panthers Speak. Philadelphia: Lippincott, 1970.Google Scholar
Griffin, Farah Jasmine. If You Can't Be Free, Be a Mystery: In Search of Billie Holiday. New York: Ballantine, 2002.Google Scholar
Hampton, Henry and Steve, Fayer, eds. Voices of Freedom: An Oral History of the Civil Rights Movement from 1950s through the 1980s. New York: Bantam Books, 1990.Google Scholar
Jones, LeRoi [Imamu Amiri Baraka]. “The Changing Same (R&B and New Black Music).” In Black Music, 180211. New York: Da Capo Press, [1967] 1998.Google Scholar
Joseph, Peniel E., ed. The Black Power Movement: Rethinking the Civil Rights–Black Power Era. New York: Routledge, 2006.Google Scholar
Kelley, Robin D. G. Freedom Dreams: The Black Radical Imagination. Boston: Beacon Press, 2002.Google Scholar
Martin, Bradford D. “Freedom Singers of the Civil Rights Movement: Delivering a Message on the Front Lines.” In The Theater Is in the Street: Politics and Public Performance in Sixties America, 2048. Amherst: University of Massachusetts Press, 2004.Google Scholar
Neal, Mark Anthony. What the Music Said: Black Popular Music and Black Popular Culture. New York: Routledge, 1999.Google Scholar
Nossiter, Adam. Of Long Memory: Mississippi and the Murder of Medgar Evers. Reading, Mass.: Addison-Wesley, 1994.Google Scholar
Posner, Gerald. Motown: Music, Money, Sex, and Power. New York: Random House, [2002] 2005.Google Scholar
Ransby, Barbara. Ella Baker and the Black Freedom Movement: A Radical Democratic Vision. Chapel Hill: University of North Carolina Press, 2003.Google Scholar
Reagon, Bernice Johnson. “Let the Church Sing ‘Freedom.’Black Music Research Journal 7 (1987): 105118.CrossRefGoogle Scholar
Reed, T. V. The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle. Minneapolis: University of Minnesota Press, 2005.Google Scholar
Sanger, Kerran L. “When the Spirit Says Sing!”: The Role of Freedom Songs in the Civil Rights Movement. New York: Garland Publishing, 1995.CrossRefGoogle Scholar
Seeger, Pete, Reiser, Bob, Carawan, Guy, and Candie, Carawan. Everybody Says Freedom. New York: W. W. Norton, 1989.Google Scholar
Simone, Nina. With Stephen Cleary. I Put a Spell on You: The Autobiography of Nina Simone. New York: Da Capo Press, 1991.Google Scholar
Taylor, Arthur. “Nina Simone.” In Notes and Tones: Musician-to-Musician Interviews, 148–59. New York: Da Capo Press, [1977] 1993.Google Scholar
Ward, Brian. Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. Berkeley: University of California Press, 1998.Google Scholar
Weissman, Dick. Which Side Are You On? An Inside History of the Folk Music Revival in America. New York: Continuum International Publishing, 2006.Google Scholar
Werner, Craig. A Change Is Gonna Come: Music, Race & the Soul of America. New York: Plume, 1998.Google Scholar

Discography

Mayfield, Curtis. The Anthology 1961–1977. MCA B000002olx, 1992.Google Scholar
Simone, Nina. Black Gold. RCA Victor LSP 4248, 1970.Google Scholar
Simone, Nina. Four Women: The Nina Simone Philips Recordings. Verve 440 065 021-2, 2003.Google Scholar
Simone, Nina. In Concert. Philips PHM 200-135, 1964.CrossRefGoogle Scholar
Simone, Nina. Let It All Out. Verve Music/Philips B0006008-02, [1964] 2006.Google Scholar
Simone, Nina. 'Nuff Said. RCA Vicor LPS 4065, 1968.Google Scholar
Simone, Nina. Silk and Soul. RCA Victor LPM 3837, 1967.Google Scholar
Simone, Nina. Sings the Blues. RCA/LSP 3789, 1967.Google Scholar
Simone, Nina. The Very Best of Nina Simone: Sugar in My Bowl, 1967–1972. RCA Victor 07863 67635-2, [1967] 1998.Google Scholar