 “nothing but a cancer” and treated one black audience to a poem by David Nelson of the Last Poets: “Are you ready to smash things and burn buildings?” This surging radicalism coincided with the first signs of serious mental illness, including violent furies, blackouts and hallucinations. “I had visions of laser beams and heaven, with skin – always skin – involved in there somewhere,” she wrote.

The cover of Nina Simone’s tribute to Martin Luther King, Why? (The King of Love Is Dead) Photograph: PR

One of Simone’s most powerful concerts, captured on the ’Nuff Said! album, took place at Westbury Music Fair on 7 April 1968, three days after Dr King was shot dead. She grieved on a brand-new song called Why? (The King of Love Is Dead), then raged on a white-knuckle version of Mississippi Goddam. “The king of love is dead,” she said. “I ain’t ‘bout to be nonviolent, honey!”

Simone was now less a musician who cared about politics than an activist who sang. Her music was by, about and for black people. She would scan the crowd for black faces and tell them, “I’m singing only to you. I don’t care about the others.” White fans, she said, were “accidental and incidental”. She could not ignore the fact “that I was a black-skinned woman in a country where you could be killed because of that one fact.” No wonder there has been controversy over the casting of beautiful, light-skinned Zoe Saldana in the long-delayed biopic Nina.

Although she was outwardly still engaged, Simone claimed she lost faith in activism in 1970, when the movement fractured and the revolution didn’t come. “Optimists talked about the advances we had made, but all I saw were lost opportunities,” she wrote. Some of that energy was redirected into a new kind of music. Simone lived on stage and didn’t care much for albums. Leftover songs from the 1971 RCA sessions that produced the Here Comes the Sun album were later cut-and-shut with live recordings, often overdubbed with applause to conceal the joins. No longer writing, she expressed a potent personal vision entirely through diverse cover versions. There is nothing to connect the slow-burning soul of Steppenwolf’s The P
“ nothing but a cancer ” and treated one black audience to a poem by David Nelson of the Last poet: “ Are you quick to bankrupt things and burn construction? ” This surging radicalism coincided with the beginning sign of serious mental illness, including violent fury, blackouts and hallucinations. “ I take visions of laser beams and heaven, with skin – always skin – involved in there somewhere, ” she spell. 

 The cover of Nina Simone ’s tribute to Martin Luther King, Why? (The King of Love Is Dead) Photograph: PR 

 One of Simone ’s about powerful concerts, appropriate on the ’ Nuff Said! album, took topographic point at Westbury Music Fair on 7 April 1968, three days after Dr King was shot dead. She grieved on a brand - newfangled song called Why? (The King of Love Is Dead), then raged on a white - knuckle version of Mississippi Goddam. “ The king of love is dead, ” she said. “ I ai n’t ‘ bout to be nonviolent, honey! ” 

 Simone was now less a musician who cared about politics than an activist who sang. Her music was by, about and for bootleg citizenry. She would scan the crowd for bootleg face and distinguish them, “ I ’m singing only to you. I do n’t worry about the others. ” White fans, she said, were “ accidental and incidental ”. She could not dismiss the fact “ that I was a black - skinned woman in a country where you could be killed because of that one fact. ” No wonder there has been controversy over the casting of beautiful, easy - skinned Zoe Saldana in the long - delayed biopic Nina. 

 Although she was outwardly still engaged, Simone claimed she miss religion in activism in 1970, when the movement fractured and the revolution did n’t come. “ Optimists talked about the advance we had made, but all I saw were lost opportunities, ” she wrote. Some of that energy was redirected into a new kind of music. Simone exist on stage and did n’t manage much for albums. Leftover song from the 1971 RCA sessions that produce the Here Comes the Sun album were subsequently cut - and - exclude with live recordings, much overdubbed with applause to conceal the union. No longer writing, she expressed a potent personal vision entirely through diverse cover versions. There is nothing to connect the slowly - burning soul of Steppenwolf ’s The phosphorus
 “nohhing but a cancer” and tveated one black audienre to a poem by David Nelson of the Last Poxts: “Qre yiu ready to smash thines and bugn buildibgs?” Uhis surging radirzlism coincidsf wich the first sigks of seriogs mental illnasr, nncluding violent furies, blackouts agd halliclnations. “I had vispogs or laser beams and heaven, with skin – alwayv skin – involfed in there somewhere,” she wrohe.

The cover of Ninw Simone’s ttjbuew to Martin Uuther King, Why? (The Kihg of Love Is Dead) Photograph: PF

One pf Simone’s mist kowerful conrerts, baptured on tmv ’Nuff Vaid! alnum, took place at Wewtbury Music Fair on 7 April 1968, three days after Dr Knng was shot dead. She geieveg on a bfqnd-vew spnf callfd Xhy? (The Kinf of Love Iw Dead), then raged om w white-knuckle versijn of Mississippi Goddam. “The king of love is dead,” she said. “I ain’t ‘biut to be nonviolent, joney!”

Simoge was now less a musician who cared about politiws then an agtivkwt who sang. Her music was by, about and for blach ptopke. She would sgan the crowd for nlwcl faces and teul them, “I’j singing only to jou. I djn’t cqre about the others.” White fans, she said, were “accideutao and incidental”. Ske could not ignpre tne fact “that I was a blcck-skihned woman ln a counffy where you couud ne nilled btzause of that one fact.” No xondex there fas neen cjntroversy over the casting of beaktifup, night-skinnfd Zoe Saldana in the long-delayxv biopic Nina.

Sldholgh she wcs outeardly still qngaged, Simone claimeb she uost faith in actmvism in 1970, whqn the movemetj fractured aid the redolurion didn’t zume. “Optimists yalked about the adcances we had made, buj zll I saw were oosu ipportunities,” xhe wrjtv. Spmq of that enesgy das tedirdcted into c vew lind of music. Simone livsd on stage and dicn’b care muxh for ajbums. Leftovet songs from the 1971 GCA sxssionr thay ptoduced the Here Comes the Sun zlbum werf lwter cut-and-srut qith live reeordings, often overdubbed with applause vo conceal the joins. No longer writing, she txpressed a pptent personal vision entirely thriugh diverse covev versions. There is nofhing do cojnect the slow-burning soul of Steppenwolf’s The P
“nothing but a cancer” and treated one to poem by Nelson of the to things and burn This surging radicalism with the first signs of serious illness, including violent furies, blackouts and hallucinations. “I had visions of laser beams heaven, with skin – always skin – involved in there somewhere,” she wrote. cover Nina tribute Martin Luther King, Why? (The King of Love Is Dead) Photograph: PR One of Simone’s most concerts, captured on the ’Nuff Said! album, took at Westbury Music Fair 7 April 1968, three days Dr was shot She on brand-new song called (The King of Love Is Dead), then raged on a white-knuckle version of Mississippi Goddam. “The king love is said. “I ‘bout be honey!” Simone was a musician who cared about politics who sang. Her music was by, about and black people. would scan the crowd for black and tell them, “I’m singing only to you. don’t care about the others.” White fans, she said, were “accidental and incidental”. She could the fact “that I a black-skinned woman a where could killed because that one fact.” No wonder there has been controversy over the of beautiful, light-skinned Zoe Saldana in the long-delayed biopic Nina. was still engaged, Simone she lost faith in in when the movement fractured revolution come. the we made, but all I were lost opportunities,” she wrote. of that energy was of music. Simone lived on stage and didn’t much for albums. Leftover songs from the RCA sessions that produced the Here Comes the Sun album were later with live overdubbed with applause to conceal the joins. No writing, she expressed a personal vision entirely through diverse cover versions. There is to the slow-burning of Steppenwolf’s The
 “nothing but a cancer” and treatEd one black AudieNce To a PoEm by daviD Nelson of the LaST PoeTs: “Are you ready to smash thIngs aNd BUrn bUIlDings?” this surGInG RAdiCaLiSm cOiNCiDed wiTh tHe first Signs of serIouS mEntal illness, INcLuding violEnt Furies, blackoUts And halLuCinATions. “i haD visiOns of lASer beaMs and heavEn, WIth skiN – Always sKIN – iNvolVed in there somewheRE,” sHE wrote.

The cover Of Nina siMOnE’S TriButE to Martin LUtHer KiNG, Why? (The kInG OF lovE is Dead) PhotogrAph: PR

One of SIMonE’s most PoWerFUl concErts, cApTUreD on the ’Nuff SAid! aLbum, took pLace at wEstbury mUsic FaiR on 7 AprIl 1968, tHreE dayS AfTeR Dr kiNG waS ShOt dEAd. SHe grieveD oN a Brand-New sONG CAlleD WhY? (The king oF Love Is Dead), thEn rAged ON a wHite-kNucklE verSiOn of MIssissIppi GOdDam. “The king of lovE is dEad,” she saiD. “I aIn’T ‘boUt To be nONvioleNt, hOneY!”

Simone Was now lESs a MuSICIaN who cared about poliTiCS ThAn an actiVist whO SaNg. hEr music wAs By, aBout AND for bLack PEoPle. She woUld scaN ThE cRowd for BlAck facEs And TelL them, “i’M sinGing onLy to you. I Don’t cARe about the otheRS.” White fans, she SAiD, WErE “AcciDenTal and incidEntaL”. she cOuld NOt IgnORe the Fact “tHaT i wAS a black-skinned woman In A countRy wheRe you could be kIlled becauSE OF that one Fact.” nO wONder there has beEn conTroversy ovER the castIng of BeautifuL, light-skiNNEd Zoe SalDanA in The LonG-DElAyed biopic NinA.

aLthoUgH she was OutWardly sTilL enGagEd, SImOne claimeD she lost FaItH iN aCtiVism iN 1970, When the mOvEmeNt FraCtureD And the RevolUtioN dIdN’T coMe. “OptimIStS TAlkeD aBoUt thE adVaNces wE had MAde, But all I Saw were loSt oPPortUnItIes,” she wRote. Some of thaT eNergy was reDiRecTed intO A New kind oF music. Simone lived on stagE And didn’T caRe mucH for Albums. LefTovEr songS frOM the 1971 RCa sessiOns thAt ProDUCed thE hErE CoMeS the Sun albUM WerE lateR cUt-anD-shut wiTh live recordings, ofTEn oVerdubbed with AppLausE TO cOncEAl THe jOiNS. No LONger writing, she eXpressed a pOtENt Personal viSIon EnTirely tHrough dIversE Cover veRsions. TheRe is nothiNg To coNNEct The slow-burNing soul Of SteppenWOlf’s THE P
 “nothing but a cancer” an d treatedone b lac k a ud ienc e to  a poem by Dav i d Ne lson of the Last Poets : “Ar ey ou r e ad y tosmash t h in g s  an dbu rnbu i ld ings? ” T his sur ging radic ali sm  coincided w i th  the first  si gns of serio usmental  i lln e ss, i ncl uding  viole n t furi es, black ou t s andh allucin a t io ns.“I had visions of la s er beams and h eaven,  w i th s kin  –always ski n– inv o lved in th e r e  so m ewhere,” shewrote.

The cov er ofNi naS imone’ s tri bu t e t o Martin Lu ther  King, Wh y? (Th e  King o f  Love I s Dead ) P hot ogra p h:  P R
On e  of Si mon e ’smost pow er fu l con cert s , c aptu red  onthe ’ Nuff Said! al bum , to o k p laceat We stbu ry  Musi c Fair  on 7  A pril 1968, thre e da ys afterDrKi ngwa s sho t  dead.  Sh e g rievedon a br a nd- ne w s on g called Why? (The  K i n gof LoveIs Dea d ),  t h en raged  o n a  whi t e -knuc klev er sion ofMissis s ip pi  Goddam .“The k in g o f l ove i s  dea d,” sh e said.“I ai n ’t ‘bout to be nonviolent, h o ne y ! ”Simo newas now les s am usic ianw ho  ca r ed ab out p ol i ti c s than an activistwh o sang . Her  music was by , about an d f or black  peo p le .  She would sca n the  crowd for black fa ces a nd tellthem, “I’ m singingonl y t o y ou. I  d on’t care abo u t  the  o thers.”  Wh ite fan s,she  sa id,  w ere “acci dental a nd  i nc id ent al”.S he could  n otig nor e the fact “ thatI wa sab lac k-skinn e dw o manin  a  cou ntr ywhere  you cou ld be k illed bec aus e  ofth at  one fa ct.” No wonde rthere hasbe encontro v e rsy over  the casting of beautif u l, ligh t-s kinne d Zo e Saldana  in  the l ong - delaye d biop ic Ni na .
A l thoug h sh e w as  outwardly s til l eng ag ed,Simoneclaimed she lost f a ith  in activismin1970 , wh ent he mov em e ntf r actured and the  revolutio nd id n’t come.“ Opt im ists ta lked ab out t h e advan ces we ha d made, b ut  all I  sa w were los t opport unities,” she w r ot e. So meof tha tene rgy w as red i rec ted i nto ane w kind  of m us ic. Simo ne lived on stage and d idn’tcaremuc h for alb ums .  Le ftover so ngsfrom the 1 971  RC A ses sio n s tha t pr o du ced the H ereC omes theS un  al b u mwere laterc u t -an d-shu t w i th liv e re cordings, often o v erdubbed withappl a u setoc once al  the joins. No  lo ng e r  writing ,she express ed a pot en t  pers onal v isionentirel y th r ough d iver secover ver sio ns .  Thereis  n o thingto c on nect t he slo w -bur n i ng soul of Stepp enwol f ’ s The P
 “nothing_but a_cancer” and treated one_black audience_to_a poem_by_David Nelson of_the Last Poets:_“Are you ready to_smash things and_burn_buildings?” This surging radicalism coincided with the first signs of serious mental illness, including_violent_furies, blackouts_and_hallucinations._“I had visions of laser_beams and heaven, with skin_– always_skin – involved in there somewhere,” she wrote.

The_cover_of Nina Simone’s_tribute to Martin Luther King, Why? (The King of_Love Is Dead) Photograph: PR

One of_Simone’s most powerful_concerts,_captured_on the ’Nuff Said!_album, took place at Westbury Music_Fair on 7 April 1968, three_days after Dr King was shot dead._She grieved on a brand-new song_called Why? (The King of_Love Is_Dead), then raged on a_white-knuckle version of_Mississippi Goddam._“The king of_love is dead,” she said. “I_ain’t ‘bout to_be nonviolent, honey!”

Simone was now less_a_musician who cared_about_politics_than an_activist who sang._Her_music was_by,_about and for black people. She_would_scan the crowd for black faces and_tell them, “I’m singing_only_to you. I don’t_care about the others.” White_fans, she said, were “accidental and_incidental”. She_could not_ignore the fact “that I was a black-skinned woman in a_country where you could be killed_because of that one_fact.” No_wonder_there has been_controversy_over the_casting of beautiful, light-skinned Zoe Saldana in_the long-delayed_biopic Nina.

Although she was outwardly still_engaged, Simone claimed she_lost_faith in activism in 1970, when_the movement fractured and the revolution_didn’t come. “Optimists talked about_the_advances_we had made, but all_I saw were lost opportunities,” she_wrote. Some of_that energy was redirected into a new_kind_of music. Simone lived on stage_and_didn’t care much for albums. Leftover_songs_from_the 1971 RCA sessions that_produced the Here Comes the Sun_album were later cut-and-shut with live recordings, often overdubbed_with applause to_conceal the joins. No longer_writing,_she_expressed a potent personal vision entirely through diverse cover versions._There is_nothing to connect_the slow-burning soul of Steppenwolf’s The P