PopMatters is moving to WordPress. We will publish a few essays daily while we develop the new site. We hope the beta will be up sometime late next week.
Music

Verse-Chorus-Verse: Nina Simone

Pop Heroism, One Song at a Time

Nina Simone - "Mississippi Goddam"

Written by Nina Simone

From Nina Simone in Concert (Philips, 1964)

[Videos: Live / Live 2]

As her accompanists bustle along in a brisk show-time tempo, Nina Simone begins this song from her 1964 album Nina Simone in Concert by saying "The name of this tune is 'Mississippi Goddam". The drummer then drops a vaudeville thump accent on the kickdrum, and Simone pauses for audience reaction, which is laughter and a smattering of applause. Without changing the timbre of her voice, she quickly adds, "And I mean every word of it." There is more laughter from the audience after that, but it's more tentative than the first burst, and this time no one applauds. There's no possible way the audience could have prepared themselves for what follows. "Mississippi Goddam" is a subversive tour-de-force, a highly sophisticated piece of musical signifying which mixes confrontational anger, point-blank accusation, and deeply felt frustration with a bouncy show-tune melody and a wonderfully expressive vocal by Ms. Simone.

I love "We Shall Overcome", "Blowin' in the Wind", "A Change is Gonna Come", and all the other songs associated with or about the Civil Rights struggle of the American 1960s, but for my money, as powerful and accessible as those songs are, none are as emotionally immediate, or possess more unrelenting spiritual force, than "Mississippi Goddam". The lyrics are a marvel, unraveling at first in a deceptively lighthearted strut ("Alabama's got me so upset / Tennessee made me lose my rest") before turning into the most solemn of lamentations around the middle ( "Lord have mercy on this land of mine / We're all gonna get it in due time"), and then a full-on, unapologetic demand by the end ("You don't have to live next to me / Just give me my equality!"

The most striking lyric arrives at around 1:44, just as Simone is starting to dig into the real intent of the song. Here, in a single line, Simone captures the dual existential uncertainty of living in a society which repeatedly pronounces you "other", while also realizing you don't really have anywhere else to go: "I don't belong here / I don't belong there / I've even stopped believing in prayer." Like the song's title, these lines are a deeply symbolic statement from a bona fide church girl (Simone's mother was a minister), both a declaration of painful truth, and a plea for that truth to be heard, understood, addressed. By the time Simone murmurs "Bet you thought I was kidding, didn't you?" after the refrain following those lines, the Carnegie Hall audience is dead silent.

Given Nina Simone's undeniable prowess with bluesy tempos and songforms, demonstrated in countless later recordings, one has to wonder why she chose to deliver her most confrontational message in the vehicle of an upbeat songform more suited to a Rodgers and Hammerstein-style musical. The lyrics of "Mississippi Goddam" lyrically give voice to the contemporary concerns of African Americans, but ironically, there is not a lot of obvious church, blues, jazz, or R&B to be heard in the music here. The result is a somewhat dislocated sonic context, a feeling that you're hearing something that just might be different than what it appears to be on the surface. Whether the African Trickster in Simone intended this or not is always up for discussion, but clearly, "Mississippi Goddam" is not meant to be comforting, uplifting, or reassuring in any sort of way; on the contrary, it is meant to be confrontational, discomforting, prophetic: a call to wakefulness in a dangerous time, and perhaps an apocalyptic warning of sorts, as well.

We celebrate and cherish songs and songwriters often because their words and music bring us joy, comfort, and feelings of empathy and belonging. In this case, we remember and celebrate Nina Simone and "Mississippi Goddam" because in 1964, amidst great turmoil in the country and unbearable race-related murders and violence, Nina Simone had the courage to stand on the stage of one of America's most hallowed venues and deliver a song that expresses the dismayed yet indefatigable heart of a prophet.

Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology and hosting provider that we have less than a month, until November 6, to move PopMatters off their service or we will be shut down. We are moving to WordPress and a new host, but we really need your help to save the site.


Music

Books

Film

Recent
Music

Laura Veirs Talks to Herself on 'My Echo'

The thematic connections between these 10 Laura Veirs songs and our current situation are somewhat coincidental, or maybe just the result of kismet or karmic or something in the zeitgeist.

Film

15 Classic Horror Films That Just Won't Die

Those lucky enough to be warped by these 15 classic horror films, now available on Blu-ray from The Criterion Collection and Kino Lorber, never got over them.

Music

Sixteen Years Later Wayne Payne Follows Up His Debut

Waylon Payne details a journey from addiction to redemption on Blue Eyes, The Harlot, The Queer, The Pusher & Me, his first album since his 2004 debut.

Music

Every Song on the Phoenix Foundation's 'Friend Ship' Is a Stand-Out

Friend Ship is the Phoenix Foundation's most personal work and also their most engaging since their 2010 classic, Buffalo.

Music

Kevin Morby Gets Back to Basics on 'Sundowner'

On Sundowner, Kevin Morby sings of valleys, broken stars, pale nights, and the midwestern American sun. Most of the time, he's alone with his guitar and a haunting mellotron.

Music

Lydia Loveless Creates Her Most Personal Album with 'Daughter'

Given the turmoil of the era, you might expect Lydia Loveless to lean into the anger, amplifying the electric guitar side of her cowpunk. Instead, she created a personal record with a full range of moods, still full of her typical wit.

Music

Flowers for Hermes: An Interview with Performing Activist André De Shields

From creating the title role in The Wiz to winning an Emmy for Ain't Misbehavin', André De Shields reflects on his roles in more than four decades of iconic musicals, including the GRAMMY and Tony Award-winning Hadestown.

Film

The 13 Greatest Horror Directors of All Time

In honor of Halloween, here are 13 fascinating fright mavens who've made scary movies that much more meaningful.

Music

British Jazz and Soul Artists Interpret the Classics on '​Blue Note Re:imagined'

Blue Note Re:imagined provides an entrance for new audiences to hear what's going on in British jazz today as well as to go back to the past and enjoy old glories.

Film

Bill Murray and Rashida Jones Add Another Shot to 'On the Rocks'

Sofia Coppola's domestic malaise comedy On the Rocks doesn't drown in its sorrows -- it simply pours another round, to which we raise our glass.

Music

​Patrick Cowley Remade Funk and Disco on 'Some Funkettes'

Patrick Cowley's Some Funkettes sports instrumental renditions from between 1975-1977 of songs previously made popular by Donna Summer, Herbie Hancock, the Temptations, and others.

Music

The Top 10 Definitive Breakup Albums

When you feel bombarded with overpriced consumerism disguised as love, here are ten albums that look at love's hangover.

Music

Dustin Laurenzi's Natural Language Digs Deep Into the Jazz Quartet Format with 'A Time and a Place'

Restless tenor saxophonist Dustin Laurenzi runs his four-piece combo through some thrilling jazz excursions on a fascinating new album, A Time and a Place.

Television

How 'Watchmen' and 'The Boys' Deconstruct American Fascism

Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys.

Music

Floodlights' 'From a View' Is Classicist Antipodal Indie Guitar Pop

Aussie indie rockers, Floodlights' debut From a View is a very cleanly, crisply-produced and mixed collection of shambolic, do-it-yourself indie guitar music.

Music

CF Watkins Embraces a Cool, Sophisticated Twang on 'Babygirl'

CF Watkins has pulled off the unique trick of creating an album that is imbued with the warmth of the American South as well as the urban sophistication of New York.

Music

Helena Deland Suggests Imagination Is More Rewarding Than Reality on 'Something New'

Canadian singer-songwriter Helena Deland's first full-length release Someone New reveals her considerable creative talents.

Music

While the Sun Shines: An Interview with Composer Joe Wong

Joe Wong, the composer behind Netflix's Russian Doll and Master of None, articulates personal grief and grappling with artistic fulfillment into a sweeping debut album.


Reviews
Collapse Expand Reviews



Features
Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.