On This Day In Comedy… In 1927 Comedic Actor Robert Guillaume Of ‘Benson’ Fame Was Born!
On this day in comedy on November 30, 1927, comedic Actor, Robert Guillaume (nee Robert Peter Williams) was born in St. Louis, Missouri
Best known to television viewing audiences as “Benson”, the logical butler, the Guillaume legacy is so much more. An alumnus of the Karamu Players in Cleveland Guillaume spent his time there honing his craft doing musical comedies with a dash of opera to show his classy side. He was so classy he toured the world performing in prestigious Broadway musicals in the late 50s and early 60s: Golden Boy, Guys & Dolls, Porgy & Bess, The Phantom of the Opera and others. When it came time to do films Guillaume made his debut in the less than classy, Superfly TNT.
Guillaume proved his comedic versatility doing a variety of guest-starring roles. He appeared on Good Times, The Jeffersons, Sanford and Son, Saved by the Bell, The Fresh Prince of Bel-Air and A Different World. After cutting his teeth in the sitcom game he was ready to become a major player.
Robert Guillaume gained prominence in 1977 as the above-the-fray butler, Benson, on the groundbreaking night time comedy Soap. Not only did that show bring America its first primetime gay character (Billy Crystal), but also a plethora of wacky characters including a ventriloquist with a dummy, so life-like family members would attempt to strangle him in fits of anger. Guillaume was the perfect anchor amidst that swirling vortex of anarchy. He was so good they spun the character off to his own show.
Benson was a stellar showcase for a talent of Guillaume’s capabilities. As the butler to a befuddled governor, Guillaume, the black servant, was wiser than the elected state official. This role allowed Guillaume to play on his drool delivery, irrepressible smirk, his sarcastic wit as well as his authoritative demeanor even as he played a typically demeaned character. His force was so overwhelming that the butler ended up as the state’s governor. Nothing that farfetched ever happened outside of the election of Arnold Schwarzenegger as governor of California.
Following his illustrious run on Benson, Guillaume held down a number of projects. He played Fredrick Douglass in a TV mini-series. He was the title character on The Robert Gillaume Show in 1989. He did voice-over work in The Lion King; enunciating the acrid lines of Rafiki, the mandrill. Guillaume played a detective on Aaron Sorkin’s Sport’s Night. During this period Guillaume suffered a stroke. His TV character was written to have suffered the same malady.
Nothing stopped Guillaume artistically. His voice was omnipresent. He did characters for Captain Planet and the Planeteers, Fish Police, The real Story of Sur le Pont D’Avignon, Happily Ever After and The Land Before Time as well as a digital persona n the video game, Half-Life 2 and its sequels.
Robert Guillaume won an Outstanding Supporting Actor Emmy for Soap in 1979. In 1985 he won another Emmy for Outstanding Lead Comedy Actor for Benson. He has a star on the St. Louis Walk of Fame and a Grammy Award for Best Spoken Word Album for Children.
On October 24, 2017 Guillaume died of prostate cancer in Los Angeles, California. He was 89 years old.
On This Day In Comedy… In 1976 Comedic Actor Jaleel White Of ‘Family Matters Fame Was Born!
On this day in comedy on November 27, 1976, Actor, Jaleel Ahmad White was born in Culver City, CA
White got his start in show business doing TV commercials. One was for Jello pudding Pops with Bill Cosby. White was three years old. His first TV part was in 1984 on The Jeffersons. He was later cast as the son of Flip Wilson and Gladys Knight in the short-lived CBS sitcom, Charlie and Company. After that he guest starred in sitcoms, appeared in pilots and made-for-TV movies and then came his big break on ABC.
At the age of 12 White landed the part of Steve Urkel on Family Matters, starring Reginald VelJohnson and Jo Marie Payton. The character of Urkel, a certified nerd, was only supposed to be a one-time thing, but White blew it away and was made a cast regular. It was mutually beneficial because White ended up writing episodes; one being the top rated for that season. The character of Urkel was so popular that he had his own cereal and doll. White was a cultural fixture.
Once Family Matters went off the air White attempted to expand his horizons. He was only 22 and had been on one of the longest running African-American shows in TV history (11 seasons) so he was ready to be taken seriously as an adult. He starred in the UPN show, Grown Ups. He wanted to learn his craft, so he earned a degree at UCLA in film and television. He got guest-starring roles, but he was getting those before Family Matters. White had to come to grips with the fact he was type cast. Audiences and casting agents looked at Jaleel White and saw Steve Urkel, but he still had to eat. So, he did animated voice-overs (Sonic the Hedgehog), web series, music videos, small parts in big films (Dreamgirls) and a brief stint on Dancing with the Stars.
Jaleel White has won three NAACP Image Awards for Outstanding Youth Actor and in 1991 he won the Young Artist Award for Outstanding Young Comedian in a Television Series.
On This Day In Comedy… In 1994 ‘A Low Down Dirty Shame’ Was Released!
On this day in comedy on November 23, 1994, A Low Down Dirty Shame was released by Buena Vista Pictures
Written, directed and starring Keenan Ivory Wayans, this action/ comedy cast him as a disgraced private detective. His agency is about to go under when he gets a cold case involving a drug lord he thought he’d killed long ago. It turns out the dealer’s old girlfriend, who was also Wayans’s girlfriend stole $20 million of drug money and is now being sought by the still alive drug lord. Wayans assistant, Peaches, tries to help, but ends up a hostage. To add to his troubles, his old-time partner has turned on him. By the time it’s all wrapped up people are dead, but Wayans and Peaches (Jada Pinkett) find love and keep $5 million of the recovered illegal money to take a long vacation.
A Low Down Dirty Shame co-stars Charles S. Dutton as Wayans traitor partner. Salli Richardson plays the thieving girlfriend on the run and Gregory Sierra is the police captain looking for an excuse to throw Wayans behind bars. The film also features Chris Spencer and Kim Wayans.
With original music by Marcus Miller, A Low Down Dirty Shame was shot on a budget of $10 million and grossed $29,392,418 at the box office.
‘Cleopatra Jones’ To Be Revived At Warner Brothers Studios
Warner Bros is reviving Cleopatra Jones, the 1973 blaxploitation female empowerment film that starred Tamara Dobson as the undercover government agent who used the day job of supermodel as her cover and an excuse to travel to exotic places. The studio has set Misha Green to write the script and produce a film that will present the heroine very much as the female answer to James Bond. Those comparisons were made when the original hit film was released, partly because Jones was so adept at martial arts and drove a Corvette Stingray fully equipped with automatic weapons. In the original, she faced off against a drug kingpin named Mommy (Shelley Winter), with a mission to destroy the poppy plants that were fueling drugs devastating the inner city.
Green is the co-creator, writer and exec producer of the WGN series Underground, who is now working with exec producers Jordan Peele and JJ Abrams on Lovecraft. She is co-creator, writer and exec producer of the upcoming HBO series. She is also writer and producer of the Netflix film The Mother.
Niija Kuykendall will oversee for Warner Bros. Green is repped by CAA and Del, Shaw, Moonves.
The deal comes after Sony set a new version of Super Fly and as New Line preps a reprise of Shaft that Tim Story will direct with Samuel L. Jackson returning as the original Shaft’s nephew, with Jessie T. Usher playing his son, and Richard Roundtree, who originated the character, back as well. Netflix acquired the foreign on that film, and will play it on its international streaming service two weeks after it opens.
Source: Deadline
Tiffany Haddish Will Be Honored Along With Billy Dee Williams And Omari Hardwich At The 2018 American Black Film Festival Honors
NEW YORK, NEW YORK – The American Black Film Festival (ABFF) Honors is proud to present legendary actor, singer and writer Billy Dee Williams with the “Hollywood Legacy Award;” actor Omari Hardwick with the “Distinguished ABFF Alumni Award;” and actress and comedian Tiffany Haddish with the “Rising Star Award” at the 2018 ABFF Honors. The awards gala will take place on February 25, 2018 at the Beverly Hilton in Los Angeles.
The awards show celebrates individuals of African descent who have made distinguished contributions to American culture through their work, and salutes the year’s best movies and television shows. ABFF Honors was created by American Black Film Festival founder Jeff Friday, to promote camaraderie and a spirit of mutual appreciation among multicultural artists in Hollywood. Actor and comedian Cedric The Entertainer will host the annual event.
The “Hollywood Legacy Award” is presented to a renowned artist whose trailblazing work and groundbreaking achievements, over at least four decades, have inspired generations and made an enduring contribution to film and television. Billy Dee Williams embodies the true spirit of an industry icon and will be the recipient of this year’s award.
Williams has continued to break barriers in Hollywood and distinguish himself as a talented and driven actor, who has been fearless in pursuing acting jobs and has served as a role model for actors of color. As a veteran actor for the past 50 years, his extraordinary resume of work in film and television include Brian Song, Mahogany and Lady Sings the Blues, which have all become classics in Black cinema.
In the 80’s, George Lucas tapped him to play the scoundrel, Lando Calrissian, in “The Empire Strikes Back,” which he reprised in“The Return of the Jedi.” He also played the district attorney, Harvey Dent, in 1989’s, “Batman.” These roles opened a distinct lane for black actors to pursue roles in science fiction films.
He was duly smooth and charming as a love interest for Diahann Carroll on ABC’s, “Dynasty” and also won strong praise for his portrayal of Motown founder Berry Gordy in the ABC miniseries, “The Jacksons: An American Dream.”
Each year, the ABFF Honors “Distinguished ABFF Alumni Award” is given to an alumnus of the American Black Film Festival, in recognition of their career achievement since their debut at the festival. Omari Hardwick has been a continued advocate of the festival and its mission. He was the first host of “ABFF Independent,” a show which highlighted independent films presented at ABFF festivals throughout the years, and airs on Aspire TV. As an actor, musician and poet, his breakout role in the hit Starz series, Power, has catapulted him to superstar status. Past television and film roles include Tyler Perry’s For Colored Girls (2010), and BET Network’s Being Mary Jane. Hardwick has been a part of the ABFF family for many years and ABFF Honors is proud to applaud him for his significant accomplishments in entertainment.
Tiffany Haddish is quickly establishing herself as one of the most sought-after comedic talents in television and film. Haddish starred in Universal’s hit summer movie, Girls Trip, alongside Jada Pinkett Smith, Queen Latifah and Regina Hall. She will next be seen starring with Tracy Morgan in the new TBS show, The Last O.G and just wrapped production on Universal’s, Night School, with co-star Kevin Hart. Recently, Haddish broke barriers and became the first black female stand-up comedian to host SNL. Upcoming projects she is currently developing include, Limited Partners for Paramount, and The Temp, for Universal, which she will executive produce and star in both.
Haddish’s journey to success has been inspirational to many and ABFF Honors is thrilled to salute her with the “Rising Star Award,” at this year’s ceremony, in acknowledgement of her recent success and future promise.
Award-winning director and producer, Ava DuVernay, will round out our honorary awards for the evening and will receive the “Industry Visionary Award.” This award is presented to a pioneering artist in acknowledgment of their outstanding accomplishments in the motion picture and television industry.
Our 2018 honorees will join an illustrious list of past ABFF Honors celebrants, including actors Denzel Washington, Regina King, Don Cheadle, Diahann Carroll, Queen Latifah, Issa Rae, Terrence Howard and filmmakers and producers Ryan Coogler, F. Gary Gray and Will Packer.
The many high-profile presenters and guests have included Viola Davis, Kerry Washington, Robert Downey Jr., Jamie Foxx, Ice Cube, Cecily Tyson, Lee Daniels, Anthony Anderson, Regina Hall, Taye Diggs, Octavia Spencer, KeKe Palmer, Nia Long, Morris Chestnut, Omari Hardwick and Pharrell Williams, among others.
The event is an elegant and spirited awards dinner, with a presentation of competitive awards and special honors in the following categories: Movie of the Year Award, Television Show of the Year Award (in the categories of Drama and Comedy), Hollywood Legacy Award, Industry Visionary Award, Distinguished ABFF Alumni Award and the Rising Star Award.
In just two years, ABFF Honors has become one of the most talked about Hollywood events, attracting top-tier talent and press coverage in mainstream and African American media outlets including LA Times, Essence, Variety, Deadline, Extra, and The Associated Press. The show had its broadcast premiere on BET Networks.
The event is executive produced by ABFF Ventures founder Jeff Friday and Suzanne de Passe for de Passe Entertainment.
‘Super Fly’ Remake In Works At Sony
CREDIT: MOVIESTORE COLLECTION/REX/SHUTTERSTOCK
In an effort to continue to fill their slate with fresh IP, Sony has closed a development deal for the rights to the classic blaxploitation pic “Superfly,” with “Watchmen” scribe Alex Tse penning the script.
The film is inspired by the 1972 classic, which starred Ron O’Neal as Priest, a cocaine dealer looking to score one more super deal and retire. The movie was directed by Gordon Parks Jr., the son of Gordon Parks, who directed another blaxploitation classic “Shaft” — one of the staples in the early years of the genre that took the ’70s by storm.
While the film is a cult hit, its soundtrack may be even more popular. Composed by R&B legend Curtis Mayfield, the soundtrack would go on to become the only to outgross its film’s box office earnings.
The movie eventually got a sequel, “Super Fly T.N.T.” Sony hopes the latest version will lead to a series of films.
Sony exec Palak Patel spearheaded the effort to buy the rights, and the studio is already in the process of making a list of actors to meet for the title role. Joel Silver is producing.
TSE is best known for penning Zack Snyder’s adaptation of “Watchmen.” He is repped by CAA and Lighthouse Management & Media.
Source: Variety
Kandi Burruss Officially Quits Xscape
One Twitter fan who watched the recent Xscape interview on Bravo’s “Watch What Happens Live” described the tension as being thick enough to “cut with an ax.”
The painfully awkward sit-down session, climaxing with singer-songwriter Kandi Burruss saying that the rest of the group would work on new music without her – and doing so while pointing at the group without looking at them – summarized the state of affairs with the beloved, multiplatinum-selling 1990’s group. The obvious animosity bubbling beneath the surface for the past several months burst through like a leaky water hose and indicated that the much-anticipated reunion would be short-lived.
Well, the final episode of “Xscape Still Kickin’ It” aired on Bravo and the quartet took the audience back to their glory days during the tour’s last stop in the Motor City. Despite a show featuring the women singing and dancing in unison and producing great harmonies – building to a crescendo when Tamika Scott, Burruss, LaTocha Scott, and Tiny Harris all bringing their husbands on stage for risque dances – they could not camouflage the acidic acrimony existing between some of the group members.
That moment became real for the “Real Housewives of Atlanta” star and entrepreneur because Burruss had been pondering aloud if she will stay in the group after the tour.
However, after contemplating long and hard, Burruss made it official that she will quit the group, Celebrity Insider reported.
The entertainment publication said Xscape revealed in a statement: “Kandi has joined the women of Xscape for The Great Xscape Tour visiting 28 cities nationwide. Tiny LaTocha and Tamika have decided to record new music together. Kandi has decided not to join them.”
Burruss pointed to all the drama and fighting with the other ladies. Fans of the group took to social media to debate whether Xscape is better with or without Burruss.
The Kandi Kare founder said the tumult has outweighed the positives of getting back together.
“It is always drama. We all think differently when it comes to handling business, or at least, the three of them think differently than me,” Burruss said. “It is always them three against me, and I feel like I am always made to be the villain. It is really irritating and stressful.”
Source: Rolling Out
New ‘Shaft’ Sequel Sets New Release Date
Warner Bros. has set its “Shaft” sequel for June 14, 2019, and given its Sarah Paulson-Ansel Elgort drama “The Goldfinch” an Oct. 11, 2019, opening.
“Shaft” stars Samuel L. Jackson and Jessie T. Usher as father and son along with Alexandra Shipp. Tim Story is directing from a script by Kenya Barris and Alex Barnow. Jackson is reprising the role he played in the 2000 “Shaft” reboot of the original 1971 blaxploitation film, starring Richard Roundtree.
Usher portrays an FBI agent and a cyber expert, and the partnership with his father is an uneasy collision of old school meets new school. Producers are John Davis and Barris. New Line will have North American rights and Netflix will have international rights.
Paulson and Elgort star in “The Goldfinch” along with “Dunkirk” actor Aneurin Barnard. Based on Donna Tartt’s Pulitzer-winning book, “The Goldfinch” tells the story of a young man who survives a terrorist bombing at an art museum that kills his mother. He goes on to live in Las Vegas with his deadbeat father and becomes involved in art forgeries.
Earlier this year, Amazon Studios agreed to co-finance the film, which will go into production at the start of 2018. As part of the pact, Amazon will invest more than a third of the movie’s budget, which is estimated to be in the $40 million range, and get streaming rights on its Prime service.Warner Bros. also announced Wednesday that it’s moving its comedy “Tag,” starring Ed Helms and Jeremy Renner, forward two weeks from June 29 to June 15 — the same opening date as Disney-Pixar’s “The Incredibles 2.”
Source: Variety
Byron Allen’s Entertainment Studios Purchases New Comedy Animated Feature ‘Animal Crackers’
Byron Allen’s Entertainment Studios Motion Pictures has acquired the animated feature “Animal Crackers” for a wide theatrical release in 2018.
ESMP bought the movie from Blue Dream Studios. It premiered in competition in June at the Annecy International Animation Film Festival.
“Animal Crackers” is directed by Scott Christian Sava and Tony Bancroft and centers on a family whose life is turned upside-down when they inherit a rundown circus and a mysterious box of animal crackers, which magically change the person who eats them into animals.
The lead characters Owen and Zoe are voiced by real-life husband and wife John Krasinski and Emily Blunt. Voice cast also includes Ian McKellen, Danny DeVito, Sylvester Stallone, Patrick Warburton, Harvey Fierstein, Wallace Shawn, Raven-Symoné, and Gilbert Gottfried.
Variety‘s Andrew Barker gave “Animal Crackers” a strong reivew at Annecy, calling it “delightfully inventive and frequently hilarious.”
ESMP has a multi-year output deal with Netflix, and released shark thriller “47 Meters Down.” Upcoming movie releases include Christian Bale’s “Hostiles,” Rob Cohen’s “The Hurricane Heist,” mystery-thriller “Chappaquiddick,” and the Keanu Reeves sci-fi thriller “Replicas.”
Source: Variety
Russell Simmons Stepping Down From His Business In Wake of New Allegation
The screenwriter of ‘Rachel Getting Married’ and ‘The Mummy’ (and the daughter of filmmaker Sidney Lumet) details a terrifying encounter with the legendary music producer, who says he is stepping down from his businesses in the wake of the new claims.
Russell Simmons, a prolific music and TV producer and co-founder of Def Jam Recordings, was accused of sexual assault and harassment by model Keri Claussen Khalighi in a Nov. 19 article in the Los Angeles Times. Simmons then denied the incident in a letter published Nov. 22 by The Hollywood Reporter. The letter prompted Jenny Lumet, an award-winning screenwriter (Rachel Getting Married, The Mummy), the daughter of filmmaker Sidney Lumet, and granddaughter of singer/activist Lena Horne, to pen a response detailing her own experience with Simmons.
On Nov. 22, 2017, Russell Simmons wrote:
“I have never committed any acts of aggression or violence in my life. I would never knowingly cause fear or harm to anyone.”
Dear Russell:
I met you around 1987, through Rick Rubin, who has always been kind to me. Rick knew my sister through N.Y.U. and asked me, at the upstairs bar in a nightclub called the Palladium, to be in a movie you were producing that Rick was directing, starring RUN DMC. It was, frankly, a lousy movie and I was terrible in it.
Over the next three or four years, I would see you out and about, at a nightclub called Nell’s, mostly. I don’t recall you and I ever just going out to dinner, or having a one-to-one experience; we were always in groups, and we had many, many mutual friends. You were charming and funny and charismatic and self-deprecating. Not being in the music business made it possible for me to relax around you. And you were a fan of my grandmother, respected her, and told me so. You seemed sincere.
You pursued me, lightly, on and off, over a course of years, saying you had a thing for a “little yellow girl” (me). I rebuffed. It wasn’t deep, as far as I knew. It was never a big deal. You had, I assumed, many women in your orbit.
Once you sent me 250 balloons with the note “Please baby, please baby, baby, baby, baby” after a character in a Spike Lee movie. It was light, fun, and flattering. We continued to socialize in the same places. We continued to have a large group of mutual friends.
One night circa 1991, when I was around 24, I was at a restaurant called Indochine. I had worked there when I was 17, as the coat check girl, and I enjoyed returning. I still knew some of the staff at this point, and felt quite comfortable there. I remember I was wearing one of the Azzedine Alaia tops that were everywhere that year. And hoop earrings. I think it was cool enough for a jacket. Because I remember being glad I had a jacket by the end of that night.
You had a car and a driver that evening. Sometime later, you offered me a ride to my home. I said, sure. During the making of the RUN DMC movie, I had been in vans with you and other crew members. I don’t recall having accepted a ride home alone with you before that night.
At no time that night did I say: “Russell, I will go home with you”. Or, “Come home with me.” Or “I will have sex with you.” Or “I have the desire to have sex with you.”
I believe it was an SUV, because I recall having to step up into the car. I don’t know about makes or models. I think the driver was already in the car.
I got into the car with you. The driver began to drive. I assumed you knew where I lived, because you had sent me 250 balloons, but I gave the driver my address on 19th Street and 2nd Avenue.
You said to the driver: “No.”
I didn’t understand, so I said: “Russell?”
I said, again, to the driver: “19th Street.”
Again you said to the driver: “No. ”
Then, the car doors locked. It was loud. The noise made me jump.
I didn’t recognize you at that moment. It was disorienting. It was disorienting. I say it twice, now, because you said “No” twice, then.
I couldn’t open the doors. I couldn’t open the windows. The car was moving. The driver did not stop. He did not take me to 19th Street. He took me to your apartment.
I didn’t try to kick the windows out. I didn’t punch or kick. I didn’t say “What are you doing?” My voice left me after the second “No”.
I felt dread and disorientation. I wanted to go home. I said I wanted to go home. I didn’t recognize the man next to me. I didn’t know if the situation would turn violent. I remember thinking that I must be crazy; I remember hoping that the Russell I knew would return any moment.
The car stopped at the curb. I don’t recall the street. I recall the driver opening the door from the outside, and you behind me. I was between the two of you. Not wedged, just in the space between you. I remember exchanging a look with the driver. He was unreadable. It was chilly out. It was me and these two men.
I felt dread. I was tremulous. Off my feet. I felt an intense need to keep both of you calm. Was there a time or a space to run? I have no idea. Would somebody else have run? I have no idea. There were two men. One of whom obeyed the other. It was an overwhelming feeling.
There was no well-lit lobby or doorman at the entrance we used. I would guess it was not the main entrance to the building. I believe there was a door from street level that opened into a space beneath the residential area of the building, in which there was a small, back elevator. If I am wrong about the layout, then I am wrong. There were two men, and I was afraid.
You didn’t punch me, drag me or verbally threaten me. You used your size to maneuver me, quickly, into the elevator. I said “Wait. Wait.” I felt dread. I was very, very sad. I didn’t know if the driver was a further threat, or an ally. I was both relieved and terrified when he did not get into the elevator. Alone in the elevator, you pressed me into the corner with your body, your hands and your mouth.
The elevator did not stop on the way up to your apartment. I was moved very quickly inside. I recall hearing the apartment door closing behind us.
I saw no one else. I recall you were behind me. I was still hoping the Russell I knew would reappear, as I could not recognize the man moving me deeper into the apartment — the man who had said “No” to his driver. Twice.
You moved me into a bedroom. I said “Wait.” You said nothing.
I made the trade in my mind. I thought “just keep him calm and you’ll get home.” Maybe another person would have thought differently, or not made the trade.
It was dark, but not pitch dark. You closed the door.
At that point, I simply did what I was told.
There was penetration. At one point you were only semi-erect and appeared frustrated. Angry? I remember being afraid that you would deem that my fault and become violent. I did not know if you were angry, but I was afraid that you were.
I desperately wanted to keep the situation from escalating. I wanted you to feel that I was not going to be difficult. I wanted to stay as contained as I could.
You told me to turn over on my stomach. You said something about a part of my body. You did not ejaculate inside me.
When it was over, I got my clothes and quickly went down in the elevator by myself. You didn’t try to stop me. I went home in a taxi. I was grateful to be secure in my home. I never told anyone this story until October 27th of this year (after the Harvey Weinstein story was in the news, but weeks before the first public claims were made against you), when I told a girlfriend from childhood.
“Abusing women in any way shape or form violates the very core of my being.”— Russell Simmons
We encountered each other socially many times after that night. We had a score of mutual friends. We may have been photographed proximately, or together. The dynamic between us was different, muted. I never sought you out, nor did I run from a place or event upon seeing you. I feel confident in saying we nodded at each other, said hello. I strove for an affect of normalcy. And I never said anything to you about that night. You have never said anything to me.
Specifically, we saw each other at the Vanity Fair Party after the Academy Awards in 2005, the year my father won the Lifetime Achievement Award. I saw you again at the NAACP Image Awards, briefly, in 2009. I believe you were there with your daughters. We both accepted awards that night. I encountered you at a party in Los Angeles before the 2011 Academy Awards, during which there was a planned tribute to my grandmother, who had just passed away. These were events that were supposed to be happy, and they were tainted.
I don’t recall ever meeting any of the women who have spoken out against you, Russell. But I can’t leave those women twisting in the wind. Maybe the recalling of this incident can be helpful. I don’t know if it can.
I have built a life in the past 25 years, and a reputation in my industry. I need no one to have this visualization of me. I will, like the others, lose work because of this. I realize how privileged I am to be able to risk that. I have children. I’m aware that every mistake, act of thoughtlessness, hypocrisy or cruelty I’ve committed in my 50 years will be excavated, and they’ll see all of it.
There is so much guilt, and so much shame. There is an excruciating internal reckoning. As a woman of color, I cannot express how wrenching it is to write this about a successful man of color. Again, shame about who I was years ago, choices made years ago. In this very moment, I feel a pang to protect your daughters. I don’t think you are inclined to protect mine.
In response to this article, Simmons responds that he is stepping down from his various businesses to “commit myself to continuing my personal growth, spiritual learning and above all to listening.” His full statement is below.
I have been informed with great anguish of Jenny Lumet’s recollection about our night together in 1991. I know Jenny and her family and have seen her several times over the years since the evening she described. While her memory of that evening is very different from mine, it is now clear to me that her feelings of fear and intimidation are real. While I have never been violent, I have been thoughtless and insensitive in some of my relationships over many decades and I sincerely apologize.
This is a time of great transition. The voices of the voiceless, those who have been hurt or shamed, deserve and need to be heard. As the corridors of power inevitably make way for a new generation, I don’t want to be a distraction so I am removing myself from the businesses that I founded. The companies will now be run by a new and diverse generation of extraordinary executives who are moving the culture and consciousness forward. I will convert the studio for yogic science into a not-for-profit center of learning and healing. As for me, I will step aside and commit myself to continuing my personal growth, spiritual learning and above all to listening.