Justin Timberlake cast as Casablanca Records cofounder Neil Bogart

[needlefingers]

He's bringing disco back.....

Justin Timberlake cast as Casablanca Records cofounder Neil Bogart

Read more: http://www.nydailynews.com/entertain...#ixzz1ZI7Z1DkK

[markydefad]

this sounds like a great idea--Justin is terrific....now they need a great director like David Fincher or Paul Thomas Anderson

who will play HRH Donna Summer? I sorta hope it's not Beyonce but maybe she'd be good.
the new version slim-as-a-rail Jennifer Hudson?

I don't know the new girl singers very well since I no longer watch the wretched music contest reality shows that introduce them the public. been there/done that.

Rihanna? Alicia Keyes? just brainstormin' probably too obvious-- but I would think Donna would be a major player in the Neil Bogart story--but ya never know

[Cory Ander]

sounds like a good idea but I'd sure prefer the label and it's music be revived instead of or in addition to the movie. To this day I still watch and enjoy TGIF, The Deep and Can't Stop the Music and enjoy them as much as ever, maybe more than ever and no one's negative opinions will make me enjoy them any less. 9/28/2011

[remicks]

*****

Read more: http://www.nydailynews.com/entertain...#ixzz1ZJd7UfAj

WOW , each smiling while wearing a white satin jacket with a black bow tie ..... ( and both with fingers on their shoulders too)
!!!! .... the similarity's too great !
- a natural choice !!!!!!!

I wonder how they'll overcome the color/ B&W disparity though ????????{curious}



I have a good feeling about this one .... under the guidance of Neil's son - could be well steward .


******

[JussiK]

RuPaul should play Donna Summer. Perfect match. Billy Zane could make for a good Alec R Costandinos - the resemblance is uncanny if Billy wears a wig. I'd hire David Lynch to direct as the pic must have a druggy, otherwordly feel to it. Will the script include a party scene during which Love To Love You Baby was discovered in Germany? Call Romy Haag, me, Fabio, Udo Kier and yes, Lady Gaga. Make her do something useful already.

[needlefingers]

I envision Baz Luhrmann meets All That Jazz.

I can see them breaking out in song, using the music as part of the dialogue. Doing mash-ups using the Casablanca catalogue.

And the artists, such as Donna Summer, Village People, Kiss and others, are more peripheral to the story. We see them in the studio or on stage, and possibly sharing a song with Neil. But not focus on their lives too much.

While I haven't read the book put out recently, from what I do know, Neil doesn't come across as controversial or appear to have much conflict. His success is his best asset. The tragedy is his dying young. His true enemies are "time", which he can't control, and "death", which comes too early.

Disco music is already overblown and an "artistic approach" is needed to match the rest of the film to the music.

It also depends on how they use the music. Do they use the original recordings, re-record them, remix the originals for an updated feel....????


Here is the final scene from All That Jazz...

[SandraDee]

who will play HRH Donna Summer? I sorta hope it's not Beyonce but maybe she'd be good.
the new version slim-as-a-rail Jennifer Hudson?

I thinkthat Kelly Rowland bears quite a resemblance to LaDonna. Does she act? (not that it matters these day I s'pose!)

[BrunoRepublic]

It also depends on how they use the music. Do they use the original recordings, re-record them, remix the originals for an updated feel....????

I wouldn't be surprised if most of it ends up being re-recorded; some of the material may cost too much to license.

Also, I'm not expecting a story about disco; remember that Casablanca never sought to be a disco label, and that KISS were their top money-makers (not that Casablanca ever made any money, but...)

[remicks]

.

While I haven't read the book put out recently, from what I do know, Neil doesn't come across as controversial or appear to have much conflict.

Just wondering Stoney, what book is this ?


*****

[Cory Ander]

it'll be interesting to see how the "disco sucks" crowd responds to the film, and I'm also curious about the timing of this...does it have anything to do with Donna Summer being inducted into the Rock and Roll Hall of Fame? And I assume there's some obvious reason I'm unaware of that someone else would be playing Summer while she's still here. In any case, the Casablanca artists, writers and producers who are still around could probably add a lot of authenticity to the film if they make appearances. Finally, I hope if the film is a hit that my precious Casablanca vinyl albums become even more valuable. I have "Can't Stop the Music" playing in the background right now. 9/30/2011

[BrunoRepublic]

And I assume there's some obvious reason I'm unaware of that someone else would be playing Summer while she's still here.

You mean besides how she's aged 35 years older than her character in the film will need to be? You don't think that's rather obvious?

Finally, I hope if the film is a hit that my precious Casablanca vinyl albums become even more valuable. I have "Can't Stop the Music" playing in the background right now. 9/30/2011

"Even more valuable?"

I didn't think any Casablanca albums were particularly valuable (well, unless you consider $10 "valuable"), except the Gloria Scott album and some of the promo items. Casablanca consistently pressed up more copies of their product than they could sell; that was a big part of their downfall. Even the Lightning album, once thought to be fantastically rare, has turned out to relatively easy to obtain. It's not like obscure northern soul or cosmic disco records which seldom turn up, and easily go into the three figures when they do.

I still come across Village People albums in the $1 bins.

[needlefingers]

Just wondering Stoney, what book is this ?


*****

And Party Every Day: The Inside Story Of Casablanca Records by Larry Harris

[mrbmarco]

Going through old Billboards, at Google Books. Neil left Casablanca in 1980 and started a new label, distributed by Columbia, called BOARDWALK. His first artist was Harry Chapin. He couldn't match David Geffen's new label Geffen, which signed Donna Summer, John Lennon and Elton John.

[boogienights]

Going through old Billboards, at Google Books. Neil left Casablanca in 1980 and started a new label, distributed by Columbia, called BOARDWALK. His first artist was Harry Chapin. He couldn't match David Geffen's new label Geffen, which signed Donna Summer, John Lennon and Elton John.

You just described one of my new favourite pastimes! I love going through the old magazines online, it gives a great perspective on disco, very helpful for those of us who weren't lucky enough to experience it First Time Around...it's a little sad though, if you type in Billboard Disco 1980 and then keep going on through the early 80s it will tag articles and as the years progress it will come up with articles that include statements like "the last of the disco deejays who have been holding out to the traditional style have conceded unless they change their styles to incorporate new styles, such as new wave, they will be wiped out." It makes me sad to see the difference between a 1977 edition, and a 1983 edition.

[SandraDee]

It makes me sad to see the difference between a 1977 edition, and a 1983 edition.

I was following the music at that time & sad is exactly how I felt when the music got more sparse, less glamourous & harder every year & then by the 90s samplers & drum loops had taken over to make everything that bit more processed/soul-less. It's a sadness I've never really recovered from. However life goes on & I grew to actually like some stuff more than I did at the time, & so much late 80s /early 90s stuff reminds me of my clubbing days so I like it for that reason.

[JussiK]

It makes me sad to see the difference between a 1977 edition, and a 1983 edition.

In 1977 Billboard & all things American were of importance. By 1983 times had moved on. We all looked for London for the Hi-nrg scene and Milan for the italo sound. We were making pilgrimages to Berlin not to New York. And of course we went to Madrid to thrill to it's Movida movement. A new era of clubbing with the disco vibe very much present, intensified with new visual forms. Sure, stuff out of the US was getting played a lot along with the Yello, tropicalia etc records - electro, Kid Creole, Miss Grace Jones - but it was all given the yes or no stamp by djs and personalities like Malcom McLaren in London and other new destinations, just like it was to be with house a few years on. The US scene was already left behind. Who was reading Billboard anymore then?

[boogienights]

In 1977 Billboard & all things American were of importance. By 1983 times had moved on. We all looked for London for the Hi-nrg scene and Milan for the italo sound. We were making pilgrimages to Berlin not to New York. And of course we went to Madrid to thrill to it's Movida movement. A new era of clubbing with the disco vibe very much present, intensified with new visual forms. Sure, stuff out of the US was getting played a lot along with the Yello, tropicalia etc records - electro, Kid Creole, Miss Grace Jones - but it was all given the yes or no stamp by djs and personalities like Malcom McLaren in London and other new destinations, just like it was to be with house a few years on. The US scene was already left behind. Who was reading Billboard anymore then?

Oh, ok. I suppose I was seeing it as a general view on how America reacted to disco in general? I am aware of that country's massive importance and influence on music and I take what I've read from books -your own included- to form these thoughts.

[Pete B]

i hope its better than the book from last year, which skipped over lots of the more interesting disco facts and trivia in favour of (far too much) kiss, but i fear it will be even worse

[BrunoRepublic]

I thought the book was excellent. Kiss were the biggest act on the label, and were responsible for much of the labels success (or at least, the perception of success) as well as a symptom of their downfall (as seen with the solo album fiasco), so it's no surprise that they got a lot of coverage in the book. I think it also nicely illustrated the fact that Casablanca never intended to become a disco label. I expect that's why this movie won't be a huge disco-fest either. Much of Casablanca's disco roster was simply licensed product. The label didn't have the same level of involvement as they did with, say, Angel.

Casablanca wasn't created with the idea of setting the world on fire with dance music. They just wanted to sell a lot of records.

[Pete B]

I thought the book was excellent. Kiss were the biggest act on the label, and were responsible for much of the labels success (or at least, the perception of success) as well as a symptom of their downfall (as seen with the solo album fiasco), so it's no surprise that they got a lot of coverage in the book. I think it also nicely illustrated the fact that Casablanca never intended to become a disco label. I expect that's why this movie won't be a huge disco-fest either. Much of Casablanca's disco roster was simply licensed product. The label didn't have the same level of involvement as they did with, say, Angel.

Casablanca wasn't created with the idea of setting the world on fire with dance music. They just wanted to sell a lot of records.

Agreed to a point as the label was simply following the musical trends of the moment but there has already been several books detailing the career of Kiss, 95% of people who bought the Casblanca story would have done so as fans of the disco side of the label....even if it was about licensed in material....which not all of the disco was. Ok Donna Summer and Village People were covered to a degree but there wasn't much inside "wow, i didn't know that" information on either. Many other acts who had several lps out on Casablanca (Patti Brooks, Teri DeSario for example) literally didn't feature at all. While their long running more r&b sub label Chocolate City (home to Cameo and other soul funk acts ) was mentioned once at the end of a sentence - there is no explanation of why it was started or who ran it etc. At the same time there was lots of detail on the hiring and firing of staff, sometimes not even major players, names that are meaningless to most readers. There was also lots on some unsuccessful rockers Larry Harris signed called Angel. I got the impression that the author didn't like disco personally, so he was probably the wrong the person to write the story

[tmob]

The point of the book was to show Casablanca as a label, not exclusively a disco label, and KISS was a major part of the label's success (particularly pre-Donna and the VP). "95% of the people who bought the Casablanca story would have done so as fans of the disco side of the label..." Your proof of that?

One could argue that the names Patti Brooks and Teri DeSario would be "meaningless to most readers" (Brooks had no real hits beyond the disco chart; DeSario's biggest was the "Yes, I'm Ready" duet). Meaningful to disco fans, yes; but to most mainstream music fans, no.

While there was a lot of emphasis on Angel, I think it proved the writer's point of how Casablanca would (sometimes) crank up the hype machine for acts that just were never going to make it.

I'm with Bruno; I think Larry Harris gave a great picture of what the whole Casablanca operation was about, not just a book filled with disco esoterica.

[needlefingers]

While I didn't read the book, I agree with Bruno also. The disco acts were licensed to Casablanca. My initial thought/glee that this movie would be about the disco aspect of the label are probably unfounded. KISS, and rock, are more than likely to get the lion's share of the musical attention in this movie.


Cancel Baz Luhrmann. Get me Cameron Crowe.

[Pete B]

One could argue that the names Patti Brooks and Teri DeSario would be "meaningless to most readers" (Brooks had no real hits beyond the disco chart; DeSario's biggest was the "Yes, I'm Ready" duet). Meaningful to disco fans, yes; but to most mainstream music fans, no.

While there was a lot of emphasis on Angel, I think it proved the writer's point of how Casablanca would (sometimes) crank up the hype machine for acts that just were never going to make it.

yes you could argue that but i don't think very many mainstream music fans would have bought the book, its a niche publication. despite the success of kiss casablanca was seen as a disco label and i would imagine most of the buyers would be fans of disco. yes kiss needed to be covered but they took up too greater proportion of the book. however, why not make the book longer? it's only just over 300 pages. as for angel i think it was one of the few acts the author knew anything about.

[remicks]

Agreed to a point as the label was simply following the musical trends of the moment but there has already been several books detailing the career of Kiss, 95% of people who bought the Casblanca story would have done so as fans of the disco side of the label....even if it was about licensed in material....which not all of the disco was. Ok Donna Summer and Village People were covered to a degree but there wasn't much inside "wow, i didn't know that" information on either. Many other acts who had several lps out on Casablanca (Patti Brooks, Teri DeSario for example) literally didn't feature at all. While their long running more r&b sub label Chocolate City (home to Cameo and other soul funk acts ) was mentioned once at the end of a sentence - there is no explanation of why it was started or who ran it etc. At the same time there was lots of detail on the hiring and firing of staff, sometimes not even major players, names that are meaningless to most readers. There was also lots on some unsuccessful rockers Larry Harris signed called Angel. I got the impression that the author didn't like disco personally, so he was probably the wrong the person to write the story

... the wrong person to write it from the disco perspective : agreed!

*****

[BrunoRepublic]

yes you could argue that but i don't think very many mainstream music fans would have bought the book,

I do. First, there's a large number of Kiss fans who will buy anything to do with the group. Second, and more significantly, it's very valuable to anyone with any interest in the history of the music business (and these days, that's a lot more people than '70s disco fans). Casablanca's story is nothing less than monumental for a company that was around for only a decade. There have been rumours and half-truths circulating about the company for years, and Larry Harris set the record straight (pun not intended. Really). Casablanca was a once-in-a-lifetime event in the industry: they managed to go quite a long way by convincing everyone that they were hugely successful, when in fact they never were. It was fake-it-til-you-make-it to a ridiculous extreme... except they never actually made it, and it eventually caught up with them.

To give a more recent comparison, Casablanca was the Enron of the music business. They looked huge, they looked unsinkable, everyone thought they were the best at what they did, but in reality it was all a house of cards. The sales figures were grossly overstated, based on deliberately over-shipping product or completely falsified. The Billboard chart positions were blatantly manipulated. It was only through sheer luck that this illusion lasted as long as it did. By the time the dust settled, the industry was never the same again. It's an important story to know if you want to understand why nobody else has ever attempted to duplicate what they did, why it could never happen today, and why it seems like boring bean-counters control every other major label now instead of outlandish, fearless, go-for-the-gusto types like Neil Bogart.