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John Legend Performs Tribute Set at Sundance Premiere

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Liz Garbus, director of the documentary film "What Happened, Miss Simone?", is interviewed at the premiere of the film on the opening night of the 2015 Sundance Film Festival on Thursday, Jan. 22, 2015, in Park City, Utah. (Photo by Chris Pizzello/Invision/AP)

Liz Garbus, director of the documentary film “What Happened, Miss Simone?”, is interviewed at the premiere of the film on the opening night of the 2015 Sundance Film Festival on Thursday, Jan. 22, 2015, in Park City, Utah. (Photo by Chris Pizzello/Invision/AP)

SANDY COHEN, AP Entertainment Writer

PARK CITY, Utah (AP) — The opening-night documentary at the Sundance Film Festival closed with a superstar concert.

After the credits rolled on “What Happened, Miss Simone?” John Legend took the stage to pay tribute to its subject, Nina Simone.

“I’m so grateful to be here today honoring the legacy of the wonderful, powerful, dynamic, super-talented Nina Simone,” said Legend, who along with Common is nominated for an Oscar for their original song from “Selma.”

The documentary about the late singer tracks her rise to fame, her struggles with mental illness, her activism during the civil rights movement, her move to Liberia where she left music behind and finally to France, where she regained her career.

Legend said the entertainer, who died in 2003, is “one of my favorite singers; one of my favorite artists of all time.”

“I find myself studying her versions of all kinds of songs, thinking about her words, thinking about her boldness, thinking about her commitment to justice,” he said. “I’m truly humbled to be here tonight to honor her legacy.”

He emerged onstage from behind a screen seated at a grand piano, opening with Simone’s soulful version of “Lilac Wine.” He followed with “I Wish I Knew How It Would Feel to Be Free,” which Simone made famous in 1967. After saying how much he admired Simone, he performed her 1964 single, “Don’t Let Me Be Misunderstood.”

Legend took a bow, then was embraced by the film’s director, Liz Garbus, and festival founder Robert Redford.

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 This material may not be published, broadcast, rewritten or redistributed.

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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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Oakland Post: Week of December 24 – 30, 2025

The printed Weekly Edition of the Oakland Post: Week of – December 24 – 30, 2025

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