Nina Simone is an American and So Am I (the final installment)

Chicago reintroduced me to Nina Simone the summer of 2013. When I found a best of album (The Very Best of Nina Simone: Sugar in My Bowl 1967-1972), I discovered Nina's contribution to the civil rights movement and, subsequently, her slow disappearance into what I would later learn was bipolar disorder.

I waited tables that first year in the Windy City, and I would come home in the middle of the night, put in my headphones, and take Linus for long walks while I listened to music on Spotify.

I introduced myself to lots of artists that year because I had access, like I was getting away with something. To name a few, I explored the likes of Tupac, revisited the 90s, and stumbled upon Nina Simone's To Be Young Gifted and Black.I was growing up older, colder, and so was she.

I recall one evening hearing Mississippi Goddam for the first time.

Picket lines
School boycotts
They try to say it's a communist plot
All I want is equality
for my sister my brother my people and me

In the documentary, What Happened Miss Simone (Netflix 2015), there is footage of Simone asking Dr. Martin Luther King what to do with all her feelings of rage. He, of course, encouraged her to focus energy on the nonviolent protests that would later go down in history as true democracy in action. 

But they killed him. 

So she sang this song, raging in a glorious, vulnerable masterpiece that the time for silent protest was over. That it's taking too long. Moving too slow. 

And they ran her out of the country. She was destroyed politically and publicly. The beautiful black woman with the incredible voice was not singing the songs that everyone wanted to hear. 
She wasn't smiling or trying to be nice.

Today there are so many voices scrambling and screeching to be heard and so many lives lost to alcohol, pills, guns, and violence, corporate violence, that America is not what they told us it would be. Yet, "they," whoever they are, are still trying to tell us that we need to hold on...for freedom? For what America......was?

America enslaved, tortured, raped, and murdered, countless human beings. Take a day and listen to the words to songs like "Strange Fruit," and "Mississippi Goddam." Take a month....take a month that is longer than February, take two months, and listen to the voices of those that have been trying to play by a set of rules that offers them very little.

Just like rage that gets stuffed down for far too long, the urgency of the song builds:

You keep on saying "Go slow!" "Go slow!" But that's just the trouble...

"Do it slow,"
Desegregation
"Do it slow"
Mass participation
"Do it slow"
Reunification
"Do it slow"
Do things gradually
"Do it slow"
But bring more tragedy
"Do it slow"
Why don't you see it
Why don't you feel it
I don't know
I don't know"

The "pull yourself up by your bootstraps" mentality is impossible in a nation controlled by large corporations.

The lies about black crime told to make white girls afraid. The false masculinity of the disillusioned men who rape and take what they have literally been taught is "rightfully" theirs by design. The white boys and girls that scream "all lives matter" who have been told the lie that the Black Lives Matter movement is a personal attack. It is not.

And the churchgoers that voted for our current president and still try to talk to me about love that surpasses all understanding.

We have all been lied to. Why don't you see it? Why don't you feel it?

Nina Simone's family found her years later, drowning in depression. It's hard to see the world for what it is as an artist, as a lover of what human beings can create through expression, and keep going.

When you see the lost, the unloved, the broken, and the hated, all marginalized and demonized so that one group of people can say they are better or stronger, so that someone can claim ultimate power and final say, it's hard not to drown in hopelessness because what's the point?

And that is what is happening to this country. It is ignoring the rage that it is due. Because we have all been lied to, been distracted, been in love. The Bible teaches that only the Truth will set you free.

So we are all in prison. Quietly, comfortably, wasting away in a prison that we don't have to accept.

You cannot live a lie. You can try. You can surely try. But it will eat you up, destroy you from the inside out. You can dress it up, buy all the best treatments for gaping wounds, but it will kill you in the end.

It's too slow. The admitting of our sins. It's time to admit them.

How long can we live in the safe notion that if we keep quiet and pray about it, it will work itself out? We are the answer to our prayers. We are the present and the future. What we do...not say....not pray....but what we DO is the only thing that matters.

It's not time to let go and let God. It's time to stand up, and be counted. And it's time to start paying attention. Those who are living are suffering...including you.

I am a terrible vessel.

History is full of prophets that we've chased away because they did what we were terrified to do: be completely vulnerable. Like Nina Simone.

America wanted Nina Simone to pay for her "sins," while it continued to ignore the sins that would bring it...bring all of us....to this point in history.

Maybe an angry black woman isn't the problem.

"Oh but this whole country is full of lies. You're all going to die and die like flies."

She said in an older interview, used in What Happened Miss Simone (Netflix 2015), that her biggest regret is not getting to play classical piano at Carnegie Hall. The interviewer was astonished. Nina Simone had played Carnegie Hall...but not classical piano. That means something to a musician, the dream of creating something beyond words in a space made for that very creation.

Instead, at Carnegie, she played what audiences wanted a black woman who could play and sing to play, and when they didn't like what she sang, they threw her in the fire, to burn.

And burn she did.

Before the truth can set you free, you need to know what it means to be free, but, more than that, you have to try to imagine what it means not to be.

Creation

Nina Simone is an American and So am I (Part II)

Nina Simone came back into my life just a few years, which included an eye-openingly toxic relationship and a move to Georgia, after I returned home from England. Pandora internet radio introduced itself and destroyed Slacker Radio forever. 

I was living in an adorable little house in downtown Dahlonega (the site of the first American gold rush, I kid you not) (I’m a woman of the world) with my dog and two cats. The little house had a clawfoot bathtub, the bottom stained with red clay from my days as a full time gardener and general mud wallower, and I would fill it with hot water and epsom salt, light me some candles, and put on some Nina Simone Pandora radio. 

Because I chose not to pay for an account, my Pandora stations always had advertisements, and those sneaky advertisers are always creepin’ around on your internet searches to find out what they need to be advertisin’ to ya. If you listened to Nina Simone radio at regular intervals, like I did, you would more than likely hear this ad: “Are you a strong black woman in search of a strong black man?” 
And I always thought, I wish. 

I had never been introduced to a woman who sang with what felt like her whole body and soul. I felt embarrassed for her because of that vulnerability and the hostility it invites...or had invited into my life. 

I never really learned to stand up for myself. I don’t know if white women aren't taught to do that, or if it’s everyone, or if it was just me. Thus, I spent a lot of time trying not to rock the boat, despite my (kind of really) intense emotional relationship to, well, reality. 

I also spent a lot of time trying to keep from having a noticeable muffin top, trying to hide my psoriasis, trying to hide. Trying to live up to that khaki WASP standard. I despised my hips and my thighs. So wide. Too wide.

But black women, at least the poets (All women experience shame within the constructs of a patriarchal society. It's a form of domination, control), spoke of their bodies like a painter might paint a figure, with respect and awe. Maya Angelou uses phrases like “swing in my waist” and “ride of my breasts,” and she has that deep gravelly voice that you can feel along the hairs of your neck. She says her secret lies “in the reach of my arms, the span of my hips, the stride of my step, the curl of my lips,” and then she tells us she’s a woman, with a knowing half-smile.

In the same vein, Nina Simone, with her smokey, lovely moaning, made me feel the span of my own hips, to sit in silent awe at the ride of my own breasts, and to breathe fearlessly into the stride of my step...for a moment...in the tub. 

I want to let my body spread out as wide as the ocean. Then, what I might normally think of as my wobbly bits, become ripples on the water. I want to see my imperfections, delicately painted, like flower petals. I want to sing with my embarrassing voice, the vulnerable one, the one that sings, “take me for what I am,” without quivering. Without shame.

Nina Simone is an American, and So Am I (Part I)

This woman. 

The first Nina Simone album I ever heard, I procured from an ex-boyfriend’s computer. I just made a little copy (because it’s the future) and saved it to my external hard drive which held five whole gigs and was roughly the size of a hardback book...way back in 2007.

I had never heard of Nina Simone until I met Liam, “my English boyfriend,” so I assumed she was English as well, for a moment. I had been living with him, first in Manchester and later in London over the course of a year with a brief completion and defense of a Master’s thesis thrown in the mix. I’m fancy. At the time I procured his music, we were broken up, but (like good masochists) sharing a space until my visa ran out. Torture.  

I arrived home to a Memphis that I could not remember without him. He, too, had spent some time across the pond with me in my apartment on Linden in Midtown, before it was out of my price range. I finished my Master’s degree while he “secretly” worked at a Sushi place. Thus, when I returned home without him, I was home, but I was constantly in the shadow of our past. It was hard because it was a lovely past.

However, it didn’t take me long to busy myself with teaching and performing, and by the time I turned 29, in 2008, I was quite the lady about town. In my humble opinion.

Ask any woman how much she weighed at any given time in her life, and she will more than likely be able to tell you, without hesitation, her exact weight, size, and shape. At least, I can. I always kind of felt like that was the message the world was trying to tell me, that I had a specific outward standard to meet. Hell, I also assumed there was a specific inward standard of which I consistently fell short.

When I turned 29, I weighed about 120, and wore a size four. The last time I hit those numbers, was in 1992, when I turned 13.

How did I do it? I was “too busy to eat,” but I still managed to go on long, “city” walks with my ipod tucked in my back pocket. I missed walking quickly through the narrow streets of London, climbing the escalators out of the underground two steps at a time, moving with purpose through the veins of one of the biggest cities in the world.

This time, I power walked through the heat of the southern American summer, refusing to drive anywhere that wasn’t absolutely necessary. No one does this in Memphis. Still.

Since I had been in Europe during one of their coldest summers the previous year, I missed the oppression of the heat on the Mississippi Delta, if you can believe that. I walked, sometimes in the morning, but more often at dusk, and I reveled in my own sweat from the slow heat of the late summer. I relished it. It healed me.

I put Liam’s music on the iPod that he bought me for my 27th birthday, and I listened to it on my long walks. There was a lot. Every album from The Smiths. Every Wilco Album. The New Pornographers. The Chemical Brothers. The Knife. The Stone Roses. And Nina Simone. To name a few in a series of non-sentences just to enrage my grammar-nazi friends (Relax. I am one of you. I just like doing things I’m not “supposed to do.” I’m not selling heroin to poor people, so can I just have this one?)

The first time I heard Nina Simone’s voice, I felt a little embarrassed for her, not because I thought it was an ugly voice, but because it struck me as something out of the ordinary. I grew up in a world where the extraordinary were encouraged to embrace the ordinary, lest they fall into temptation and be lost forever. Over the years, I have come to believe that in order to embrace the part of myself that is truly remarkable, I have to be vulnerable, sometimes to an excruciating degree, a bit like Nina Simone's voice.

One summer, I directed a live-action “music video” to the (not) hit song “Flip City” from the soundtrack to Ghostbusters II. I also starred in it. I convinced a bunch of girls to let me choreograph performance art depicting the rise of the ghosts at the hand of Vigo the Carpathian, and we performed it in the talent show at CHURCH CAMP. I should have had “uncomfortably vulnerable” down pat.

The transcendent voice of Nina Simone bled emotion. She did not fit into the status quo, but, as I have observed things, black women rarely do. She was so angry, and she was so sad, and it was all so familiar.

So I listened, and I walked, and I tried a little more to open up and accept life as it came.

Until next time:

And also