A Billie Holiday biopic is coming in 2021 from director Lee Daniels

By Genevieve Enright
Aug 30, 2020


A Billie Holiday biopic about the life of the jazz icon will be shown by Paramount Pictures and released February 12, 2021.

Lee Daniels, who is the co-creator, producer and director of television shows Empire and Star, has been working on the film since 2018 and we will get to see it next year. According to The Hollywood Reporter, it will be released February 12 2021, with the title United States vs. Billie Holiday....

Diana Ross previously portrayed her in the 1972 film, Lady Sings The Blues alongside Richard Pryor and Billy Dee Williams. Ross earned five Academy Award nominations for her performance as the jazz singer.


https://tonedeaf.thebrag.com/billie-holliday-biopic/

Interesting. I remember reading about this upcoming film quite some time ago. If it is coming out in February, then it sounds like they must have completed the film before everything shut down, which is good to hear. I don't know how I feel about Andra Day portraying Billie Holiday. She has big shoes to fill, but I will give her a chance. She can definitely sing, but this will be her first acting role, similar to how it was for Diana. I am sure this movie will garner some new interest in "Lady Sings the Blues" as well.

Very interesting!

Evan Ross is in this movie as well. https://www.imdb.com/title/tt8521718/fullcredits/?ref_=tt_ov_st_sm

https://variety.com/2020/film/news/l...et-1234643544/

Glad to see there is enough interest in Billie to have a biopic in 2020. I just bought two of her Decca 78s and [[wo)man they sound good.

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Originally Posted by thanxal

Glad to see there is enough interest in Billie to have a biopic in 2020. I just bought two of her Decca 78s and [[wo)man they sound good.

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The Decca 78's and the "victrola" that you play them on have got to be collector's items

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Originally Posted by milven

The Decca 78's and the "victrola" that you play them on have got to be collector's items

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Not really. No one wants them. I just bought two Benny Goodman 78's from 1935 for $2.50 each- both shiny, clean, and in excellent condition.

I play them on a very modern Audio-Technica AT-120XUSB turntable with a 78-appropriate [[3 mil) needle and send one channel out of the turntable to both channels of the receiver using a simple RCA line-merger [[opposite of a splitter). Otherwise they sound noisy as the stereo cartridge picks up lateral and vertical vibrations [[for stereo) from a record that only has lateral cuts [[mono). I set my tonearm to have a light touch since 78s can wear out quickly. The shellac for all 78s came from the secretions from a beetle in India. Literally, refined beetle juice sat on top the shellac disc and produced noise we call music.

I've avoided 78s until recently since sellers don't know how to ship, but they've been flooding the market with insanely low prices, so I've picked up about 100 Goodmans, multiple Fitzgeralds, and dozens of miscellaneous big bands and other jazz. If you're into old jazz [[Goodman, Ellington, Fitzgerald, Holiday, and Armstrong) these things sound SPECTACULAR if you know how to set up your system and get relatively clean copies.

But then if I put on a stereo Motown record immediately after one of these "oldies", it blows out my speakers!

very interesting post thanxal. I love the history of music. Most of the old stuff is available on CD. What is your turn on to the 78? The price or the unique sound?

I'm a child of the fifties and the first few singles that I bought were 78s back when the record clerk would ask "45 or 78?". Thinking that 45 was a fad that would not last, I bought 78's. Still have a few of the originals that I bought as a kid, like Earth Angel and the Platters.

I also have some Al Jolson album 78s that I bought on E-Bay. And they are literally record albums in a record album book with pages like a picture album. I can play them occasionally on an old 78 player that I have in my music room mostly for display, not for playing

Sorry I got so off topic, but as I said, I love record history

This is one I might brave the cinema for. :eek:
It was Diana that first introduced me to the work of Billie Holiday. As a child, i remember buying a BH album with my pocket money, being hugely disappointed that she sounded nothing like DR lol. As an adult, i have since come to understand and appreciate Billies music.
It’s a travesty there has never been an expanded, remastered release of the LSTB soundtrack. It took a lot of critics by surprise back in the day and is perhaps her finest work.

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Originally Posted by milven

By Genevieve Enright
Aug 30, 2020
Ross earned five Academy Award nominations for her performance as the jazz singer.

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Actually, the film earned five nominations. Ross earned one, for best performance by an actress in a leading role.

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Originally Posted by Ollie9

This is one I might brave the cinema for. :eek:
It was Diana that first introduced me to the work of Billie Holiday. As a child, i remember buying a BH album with my pocket money, being hugely disappointed that she sounded nothing like DR lol. As an adult, i have since come to understand and appreciate Billies music.
It’s a travesty there has never been an expanded, remastered release of the LSTB soundtrack. It took a lot of critics by surprise back in the day and is perhaps her finest work.

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I concur with everything. Everything! [[Maybe I still need to listen to more Billie Holiday. The difference was very off-putting when I was younger. :rolleyes:)

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Originally Posted by lucky2012

I concur with everything. Everything! [[Maybe I still need to listen to more Billie Holiday. The difference was very off-putting when I was younger. :rolleyes:)

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Billie had three distinct phases of her career. You may have heard only one and not liked it. Her first was with Columbia. Her earliest tracks were with Benny Goodman and Artie Shaw's bands but also backed by Teddy Wilson, himself a legend. She was bouncy, swingy and her phrasing was more conventional. During her Decca period [[starting in the mid40s), she developed more of her trademark phrasing and mournful styling. Her Decca years were her best vocally, IMHO, however Decca had her record some truly unpleasant schmaltz backed by background singers and strings [[as they did with Fitzgerald) in order to gain her a wider following. Some of it [[Don't Explain, No More) was great. Other sides, not so much. In the early 50s she signed with Verve [[and her drug and alcohol abuse was audible), and she started singing songs with a good, true jazz feel, and outstanding backing bands, but her voice couldn't withstand the abuse she was throwing at herself and she deteriorated by about 1957 or 58. Her last album, in 1959 when she died, is very difficult to listen to. Lady in Satin is one of her best, musically speaking, although that is a controversial statement amongst her fans.

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Originally Posted by thanxal

Billie had three distinct phases of her career. You may have heard only one and not liked it. Her first was with Columbia. Her earliest tracks were with Benny Goodman and Artie Shaw's bands but also backed by Teddy Wilson, himself a legend. She was bouncy, swingy and her phrasing was more conventional. During her Decca period [[starting in the mid40s), she developed more of her trademark phrasing and mournful styling. Her Decca years were her best vocally, IMHO, however Decca had her record some truly unpleasant schmaltz backed by background singers and strings [[as they did with Fitzgerald) in order to gain her a wider following. Some of it [[Don't Explain, No More) was great. Other sides, not so much. In the early 50s she signed with Verve [[and her drug and alcohol abuse was audible), and she started singing songs with a good, true jazz feel, and outstanding backing bands, but her voice couldn't withstand the abuse she was throwing at herself and she deteriorated by about 1957 or 58. Her last album, in 1959 when she died, is very difficult to listen to. Lady in Satin is one of her best, musically speaking, although that is a controversial statement amongst her fans.

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Thanx, thanxal! Much appreciated. I will have time for Billie in these pandemic times.

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Originally Posted by thanxal

Billie had three distinct phases of her career. You may have heard only one and not liked it. Her first was with Columbia. Her earliest tracks were with Benny Goodman and Artie Shaw's bands but also backed by Teddy Wilson, himself a legend. She was bouncy, swingy and her phrasing was more conventional. During her Decca period [[starting in the mid40s), she developed more of her trademark phrasing and mournful styling. Her Decca years were her best vocally, IMHO, however Decca had her record some truly unpleasant schmaltz backed by background singers and strings [[as they did with Fitzgerald) in order to gain her a wider following. Some of it [[Don't Explain, No More) was great. Other sides, not so much. In the early 50s she signed with Verve [[and her drug and alcohol abuse was audible), and she started singing songs with a good, true jazz feel, and outstanding backing bands, but her voice couldn't withstand the abuse she was throwing at herself and she deteriorated by about 1957 or 58. Her last album, in 1959 when she died, is very difficult to listen to. Lady in Satin is one of her best, musically speaking, although that is a controversial statement amongst her fans.

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This was a very nice synopsis of Billie's recording career

Like some of you, it was Diana's work in LADY that introduced me to Billie.

I was a small child when the movie came out and I had never heard of Billie. I must admit that the first time I heard her on the radio, I wasn't impressed at all. Likewise, much of the video I saw was usually from her final years and they didn't impress me, either.

It wasn't until I saw the great documentary THE LONG NIGHT OF LADY DAY and started reading the various books that I really began to appreciate her. Now having all of her recordings, I must say my favorite period is the Verve years. My absolute favorite album is her next to last, LADY IN SATIN. The voice certainly isn't in the best shape but is probably at its most effective. Even her last album, the self-titled BILLIE HOLIDAY[[aka LAST RECORDING) has its moments, although some of the songs sound like they were sped up.

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Originally Posted by reese

Like some of you, it was Diana's work in LADY that introduced me to Billie.

I was a small child when the movie came out and I had never heard of Billie. I must admit that the first time I heard her on the radio, I wasn't impressed at all. Likewise, much of the video I saw was usually from her final years and they didn't impress me, either.

It wasn't until I saw the great documentary THE LONG NIGHT OF LADY DAY and started reading the various books that I really began to appreciate her. Now having all of her recordings, I must say my favorite period is the Verve years. My absolute favorite album is her next to last, LADY IN SATIN. The voice certainly isn't in the best shape but is probably at its most effective. Even her last album, the self-titled BILLIE HOLIDAY[[aka LAST RECORDING) has its moments, although some of the songs sound like they were sped up.

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Thank you, reese. Can't wait to listen to Billie. I remember reading that Diana Ross herself, when she first started preparing for Lady, said her very first reaction was [[paraphrasing) "What was the big deal?" She, of course, came to love Lady Day. I had to LOL because that was my youthful reaction, too.

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Originally Posted by thanxal

Billie had three distinct phases of her career. You may have heard only one and not liked it. Her first was with Columbia. Her earliest tracks were with Benny Goodman and Artie Shaw's bands but also backed by Teddy Wilson, himself a legend. She was bouncy, swingy and her phrasing was more conventional. During her Decca period [[starting in the mid40s), she developed more of her trademark phrasing and mournful styling. Her Decca years were her best vocally, IMHO, however Decca had her record some truly unpleasant schmaltz backed by background singers and strings [[as they did with Fitzgerald) in order to gain her a wider following. Some of it [[Don't Explain, No More) was great. Other sides, not so much. In the early 50s she signed with Verve [[and her drug and alcohol abuse was audible), and she started singing songs with a good, true jazz feel, and outstanding backing bands, but her voice couldn't withstand the abuse she was throwing at herself and she deteriorated by about 1957 or 58. Her last album, in 1959 when she died, is very difficult to listen to. Lady in Satin is one of her best, musically speaking, although that is a controversial statement amongst her fans.

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I agree, and every fan appears to have their own favourite Billie period/album. My own personal favourite being the 48 - 52 era. I adore her burnished vocals on songs such as “Autumn In New York” and “Love For Sale”. It’s a huge shame she didn’t make more studio recordings songs during 50 and 51.
Love the mashup of Billie and Diana singing “ Crazy He Calls Me”.

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Originally Posted by thanxal

Billie had three distinct phases of her career. You may have heard only one and not liked it. Her first was with Columbia. Her earliest tracks were with Benny Goodman and Artie Shaw's bands but also backed by Teddy Wilson, himself a legend. She was bouncy, swingy and her phrasing was more conventional. During her Decca period [[starting in the mid40s), she developed more of her trademark phrasing and mournful styling. Her Decca years were her best vocally, IMHO, however Decca had her record some truly unpleasant schmaltz backed by background singers and strings [[as they did with Fitzgerald) in order to gain her a wider following. Some of it [[Don't Explain, No More) was great. Other sides, not so much. In the early 50s she signed with Verve [[and her drug and alcohol abuse was audible), and she started singing songs with a good, true jazz feel, and outstanding backing bands, but her voice couldn't withstand the abuse she was throwing at herself and she deteriorated by about 1957 or 58. Her last album, in 1959 when she died, is very difficult to listen to. Lady in Satin is one of her best, musically speaking, although that is a controversial statement amongst her fans.

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I agree, and every fan appears to have their own favourite Billie period/album. My own personal favourite being the 48 - 52 era. I adore her burnished vocals on songs such as “Autumn In New York” and “Love For Sale”. It’s a huge shame she didn’t make more studio recordings during 50 and 51.
Love the mashup of Billie and Diana singing “ Crazy He Calls Me”.

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Originally Posted by Ollie9

I agree, and every fan appears to have their own favourite Billie period/album. My own personal favourite being the 48 - 52 era. I adore her burnished vocals on songs such as “Autumn In New York” and “Love For Sale”. It’s a huge shame she didn’t make more studio recordings during 50 and 51.
Love the mashup of Billie and Diana singing “ Crazy He Calls Me”.

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Were you lucky enough to get the Verve CD or LP boxed set encompassing her complete studio recordings from 1945-59? Deeeeelightful!!!! [[I have the US cd and Japanese LP boxes. Love 'em both).
Attachment 18064Attachment 18065

Billies Lady in Satin Album is my favorite. I love her voice. It was through Diana Ross that i found the iconic voice of Miss Holiday.

I think I viewed Billie Holiday before I knew of a film called Lady Sings the Blues but it was probably after watching LSTB that I got more familiar with her. That and Miki Howard playing her on "Malcolm X".

https://youtu.be/7mpt1z9Lzyc

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Originally Posted by Roberta75

Billies Lady in Satin Album is my favorite. I love her voice. It was through Diana Ross that i found the iconic voice of Miss Holiday.

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That version that you linked to [[The Centennial Edition) is a masterpiece. It has the original album in mono and stereo and all sorts of alternate takes and studio chatter. If you want to get into the process of how Billie recorded this piece of art, this is the version to get. The original album is haunting enough, but some of the alternates here are even more poignant as they break down into incomplete takes or chatter.

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Originally Posted by thanxal

That version that you linked to [[The Centennial Edition) is a masterpiece. It has the original album in mono and stereo and all sorts of alternate takes and studio chatter. If you want to get into the process of how Billie recorded this piece of art, this is the version to get. The original album is haunting enough, but some of the alternates here are even more poignant as they break down into incomplete takes or chatter.

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The development of END OF A LOVE AFFAIR is alone worth the price of the cd.

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Originally Posted by thanxal

Were you lucky enough to get the Verve CD or LP boxed set encompassing her complete studio recordings from 1945-59? Deeeeelightful!!!! [[I have the US cd and Japanese LP boxes. Love 'em both).
Attachment 18064Attachment 18065

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No I didn’t thanxal. All my cd’s of Billie are pretty much concentrated on that 48 to 52 timeline. For sheer audio and vocal quality, my favourite cd is Solitude. It contains those early 52 Norman Granz produced sessions with alternate takes. For me it represents some of Billie’s finest singing. Another really good cd which i bought on import is Summer Of 49 which has live recordings of that year.
I would have loved for Billie to have recorded a complete album with Louis Armstrong. Perhaps in 50. The two duets they recorded together were brilliant.
Not quite so fond of her last two albums, though “I’m A Fool” and “You’ve Changed were for me her last two great recordings.
I really think Diana should have revisited the songs of BH and made another cd. Perhaps some lesser known songs.

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Originally Posted by Roberta75

Evan Ross is in this movie as well. https://www.imdb.com/title/tt8521718/fullcredits/?ref_=tt_ov_st_sm

https://variety.com/2020/film/news/l...et-1234643544/

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I missed your post Roberta. How wonderful that Evan has a part in the film. Diana must feel very proud. I’m now **REALLY** excited about this films release.
It will be interesting to hear Diana’s take on the new movie. I presume she will attend the premiere.