of course nina simone has already been mentioned but whose radicalism comes after.sometime after me. i would certainly say that the musicians in their own way were political, but they were thinking instrumentalists. who is she helping set the bar in terms of jazz as politically radical and aesthetically daring? think about -- but the 50s, charles mingus, fables. your father's palm made me think of that. sonny rollins, freedom sweet, max roach and abby lincoln. we insist, of course, nina simone, though not on that first 1959 album. not at all. that doesn't happen until later. so, that's remarkable. go little further and think again of venue and the difficulties of jazz negotiating itself as a complicated and demanding music in, god bless them, a dance hall. think ahead to the 70s, 80s, 90s and you have the loft jazz movement. and you have the a acm musicians in chicago. so, all of these connections, all of these locations, this locating of the setting, the proper setting, the proper setting for the song and it is the questions of, what audience it reaches. all of tho

nina simone to diana ross. to cassandra wilson.ssandra wilson to audra mcdonald to you be 40 to sting singing it. it radiated through the culture, touching, aroused and inspiring a much broader, diverse audience than it did when first appeared. that's presumably why, 60 years after dismissing it as, quote, a prime piece of propaganda for the acp time magazine been crowned the song of the century since the since billie holiday introduced it. our capacity to be shocked has shrunk. taboos have disappeared and novelty itself has grown more novel. but always there will be this unique and uncanny song. the song that was also an event. the question is no longer have you heard fruit, but this strange fruit ever happened since and will should or could a strange fruit ever happen again? thank you. our next speaker be speaker will be margo jefferson a graduate of columbia university school of journalism. margo jefferson was an associate editor at newsweek and an assistant professor of journalism at nyu university before joining joining the st

of course, nina simone. not on the first 1959 album, that does not happen until later. dance hall. think to the 1970s, 1980s, 1990s, loft jazz movement in new york, aac musicians in chicago. so, you know, all of these connections, these locations, locating of the setting, the proper setting, yes, the proper setting for this son, song,-- the question of what audience it reaches. once could track, i am being a little frivolous, miles davis turning his back to the audience. that is a this indent of billie holiday , closing our eyes and singing the song. turn my back and i leave. i think, in certain ways, david's discussion of the cultural and social complications of its audiences and it's place, rarefied object is also a political document. and a political stimulant. there is -- boy, you know, i kept saying i would not say this but i think i will for example, when you read accounts of abolitionists materials and novels, early novels at the turn of the 19th century and into the 20th, but sometimes come up is questioning, it can come up from the opponents of abolition, but q