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Queen Latifah Takes Long Road to ‘Bessie’ Film

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Queen Latifah, left, and writer/director Dee Rees speak on stage at HBO 2015 Winter TCA on Thursday, Jan. 8, 2015, in Pasadena, Calif. Executive Producer, Latifah, also stars as Bessie Smith in the HBO Films drama, "Bessie," debuting Spring 2015.  (Photo by Richard Shotwell/Invision/AP)

Queen Latifah, left, and writer/director Dee Rees speak on stage at HBO 2015 Winter TCA on Thursday, Jan. 8, 2015, in Pasadena, Calif. Executive Producer, Latifah, also stars as Bessie Smith in the HBO Films drama, “Bessie,” debuting Spring 2015. (Photo by Richard Shotwell/Invision/AP)

LYNN ELBER, AP Television Writer

PASADENA, Calif. (AP) — When Queen Latifah was approached 20 years ago to play Bessie Smith, she had to do some research.

“I was Queen Latifah the rapper. I had no idea who Bessie Smith was,” the singer-actress told the Television Critics Association on Thursday.

Since then, she’s been thoroughly schooled in the life and talent of the legendary blues singer, whom Latifah, 44, finally gets to portray in the HBO film “Bessie.”

Her music “may be almost 100 years old, but it has a power a lot of artists could learn from today,” Latifah said. Smith herself would be a success if she were a contemporary artist, Latifah said of the singer who died in 1937 at age 43.

“Bessie,” whose cast includes Mo’Nique, Michael Kenneth Williams, Khandi Alexander, Mike Epps and Charles S. Dutton, will air this spring. A date was not announced.

The film was directed and co-written by Dee Rees and includes among its producers Lili Fini Zanuck and Richard D. Zanuck, who first brought the idea of a Smith film to Latifah. Richard Zanuck died in 2012.

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Oakland Post: Week of January 21 – 27, 2026

The printed Weekly Edition of the Oakland Post: Week of January 21 – 27, 2026

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OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

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Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Oakland Post: Week of December 31, 2025 – January 6, 2026

The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026

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