This 1960s music video from the USA is called Nina Simone: Mississippi Goddam.
From daily The Morning Star in Britain:
United States: Black student has noose placed around his neck
Wednesday 26th October 2016
ANTI-RACISTS in Mississippi are demanding a federal hate crime investigation after a black student had a noose put around his neck by four white students.
“No child should be walking down the hall or in a locker room and be accosted with a noose around their neck,” civil rights body NAACP president Derrick Johnson told a news conference on Monday.
“This is 2016, not 1916. This is America. This is a place where children should go to school and feel safe in their environment.”
The NAACP said that the incident had happened during a break in football practice and that the noose had been “yanked backward” while on the student’s neck.
Police Captain Ray Boggs said that officials believe something close to what the NAACP described did happen but he’s still investigating.
He said that everyone involved is younger than 17 and he expects any charges to be filed in youth court, where records are closed to the public.
Dear Kitty. Some blog 
Good!
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The lynching threat was of course not good, though the publicity about it and investigation are.
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Her voice is good…
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Nina Simone was a great singer. What a pity that the government drove her out of the USA because of her opposition to the Vietnam war.
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I didn’t know. 😦
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Nina Simone on the Vietnam war:
https://en.wikipedia.org/wiki/Emergency_Ward_(album)
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See also there Nina Simone lyrics:
http://www.metrolyrics.com/backlash-blues-lyrics-nina-simone.html
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Thanks.
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My pleasure 🙂
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Thursday 27th July 2017
posted by Morning Star in Arts
Josette Bushell-Mingo’s portrayal of a great female black artist packs a powerful punch, says MAYER WAKEFIELD
Nina
Young Vic Theatre,
London SE1
4/5
“I’M THE Obeah woman from beneath the sea/To get to Satan you gotta pass through me/’Cause I know the angels name by name/I can eat thunder and drink the rain.”
Although not written by singer, songwriter, musician and civil rights activist Nina Simone, those evocative lyrics from her 1974 version of Exuma’s Obeah Man encapsulate the ferocity which make her such a fascinating subject for a play.
They’re probably why its creator Josette Bushell-Mingo relates to her on such a visceral level.
Subtitled “A story about me and Nina Simone,” this one-woman show delves into the struggles which both have faced and fought in their lives.
Taking on the role of Simone’s understudy and using her life story as a guide, Bushell-Mingo harnesses her anger and frustration to openly challenge her audience on issues of racial inequality, religion and identity.
The first two-thirds of the show are a sporadic, hurtling collage of injustice, personal growth and song.
Delivering her own fine rendition of Simone’s take on Revolution by The Beatles that she famously sung at the Harlem Cultural Festival in the sweltering summer of 1969, Bushell-Mingo concludes that the wheels simply rotated until they sunk in the mud.
After a rendition of Mississippi Goddam, she lists a number of the countless black lives which have been brought to a premature end at the hands of white people, which brings a lump to the throat.
The tone is accusatory and vengeful, in just the same way that Simone’s was — she wanted to “meet violence with violence” and “go out and kill someone” in response to the widespread violent racism around her in the US.
Bushell-Mingo’s extension of this idea, in which she describes killing all the white people in the audience, certainly doesn’t lack conviction but it’s just slightly too drawn out to be effective.
This certainly can’t be said for any of the 15 or more Simone renditions that she delivers throughout the show. In no way trying to imitate her, and making each one her own, Bushell-Mingo draws out the depth of Simone’s songs with a poignant ease.
One scene — in which she asks the superb three-piece band to combine Bach’s “privilege” with Kool & the Gang’s “African funk” to unearth Simone’s glorious sound — is truly astounding, demonstrating the richness in her music.
Unfortunately, as the songs take over the personal stories fade, leaving the final 20 minutes feeling simply like a high quality, thoroughly enjoyable tribute concert.
The anger has already faded by the end — not something you could say about Simone’s life.
Runs until July 29, box office: youngvic.org
http://morningstaronline.co.uk/a-34ab-Simone-show-strikes-a-chord#.WXoZslFpwdU
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