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The gifted and mercurial Lee Daniels, director of “Precious,” is one of the only filmmakers I can think of who would dare to drop a badass-diva moment of Billie Holiday violently slapping her spouse into the middle of an otherwise giddy celebrity-singer-on-tour montage. In Daniels’ “The United States vs. Billie Holiday,” Billie, played with glamorous, blowsy, dagger-eyed force by Andra Day, has had her share of ups and downs — on and off heroin (mostly on); a stint in prison; a despicably unwarranted and relentless crackdown on her life and career by the U.S. government; a succession of romantic partners who are smooth-talking scoundrels — or, in one case, too nice and upstanding for her.
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The United States vs. Billie Holiday (2021)
Release : 2021-04-15
Runtime: 130 minutes
Genre: Drama, Music
Stars: Andra Day, Trevante Rhodes, Garrett Hedlund, Leslie Jordan, Miss Lawrence
Director: Jay Rabinowitz, Billy Hopkins, Andrew Dunn, Daniel T. Dorrance, Mark Bomback
Sinopsis : The Federal Bureau of Narcotics launches an undercover sting operation against jazz singer Billie Holiday.
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Premise
But Billie claws her way through every setback, to the point that she’s on a glittering concert tour of Europe. In the montage, we see her up onstage, in a Paris restaurant, and in a ritzy hotel suite with her domineering husband (Rob Morgan), who tries to grab the mink coat off her, so she gives him a smack. Is Daniels making light of this? Not at all. He’s merely demonstrating that for Billie, who spends her life surrounded by forces that want to control her, it’s just another day.
Billie Holiday, the tempestuous, high-living jazz legend who burned herself out at 44, is a great role for any actor — the highs and lows, the willowy trumpet-slide voice, the bluesy morose fierceness. And part of what makes it a great role is that Holiday was such a revolutionary artist, and such a gutsy addiction-prone life-on-the-precipice human being, that just about the only way to approach her is with a staggering intensity of dramatic commitment.
That’s what Diana Ross did in “Lady Sings the Blues” (1972), giving an all-stops-out performance in a film that was way too ramshackle and fuddy-duddy for its own good. And that’s what Andra Day does, too, in the bolder and more compelling though still flawed “The United States vs. Billie Holiday.”
In this sprawling, lacerating, but at times emotionally wayward biopic set during the last decade of Holiday’s life, Day gives Billie a voice of pearly splendor that, over time, turns raspy and hard, and we see the same thing happening to Billie inside. She’s a survivor with the fearsome glint of someone who has seen it all, and sees through it all. Day gives her a hellfire beneath the ravagement; her Billie gets beaten up by life, but won’t bow down. And onstage, the great singer of “Rise Up” simply becomes Billie Holiday, in her signature orchid, with a presence as sinuous as her voice, which she plays like a jazz instrument, stylizing emotions into a sound that pierces and caresses.
“The United States vs. Billie Holiday” opens with a ghastly historic photograph of a Black man being lynched. Holiday rose to fame in no small part because of her nightclub performances of “Strange Fruit,” a poetic and spellbinding evocation of the horror of lynching — but from the start it was a dangerous song, and the story of “Strange Fruit” is at the heart of the movie. The way Billie performs it, it’s not just a haunting number; it’s a news bulletin, a work of the fiercest possible political art. That’s what makes the song (and her) a sensation, and why racist forces within the government, led by J. Edgar Hoover, decide that they have to shut it down.
Film, also called movie, motion picture or moving picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations. The word “cinema”, short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.
∎∎∎ STREAMING MEDIA ∎∎∎
Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content.
Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is.
Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.
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Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time. The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself. A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.
Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.
Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.
Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration.
It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.
∎∎∎ GOODS OF SERVICES ∎∎∎
Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date. In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people.
The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment. Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower.