Being a whole-hawg Do Wop enthusiast from way back, my all time Sopranos episode is when an A-list rapper threatens to sue Hesh for unpaid royalties to the relative of the writer/singer of a 50's R&B hit which Hesh signed on as co-creator, which was bs, but was SOP back in the day.

That got me to wondering about the mob and music biz in the 50's. I've seen enough bio-flix to know they were there big time, but exactly how they got in and how it worked is sketchy.

(Be interesting to know which classics were in fact backed, promoted, produced or appropriated by knuckle-draggers not especially known for their delta tones and a sense of rhythm. :))

The mob had interests in jukeboxes and entertainment unions and promotion companies, which not only allowed them to launder money and hide assets but gave them and their associates a cash cow to rip off performers, producers and songwriters through manipulation of sales, royalties, contracts and concerts/appearances. And if that failed there was the good old "Do what I say or I will hurt you" fallback.

The whole industry was and is dirty so it was sort of tailor made for them.
Hesh was probably based on people like Sidney Korshak or (especially) Morris Levy, who both turned Mafia connections into very profitable semi-legitimate business ventures.

Levy ran Roulette Records, which was notorious for Mafia influence. There's a few books out there now about Levy. I think Tommy James wrote one about his (dangerous and unprofitable) experiences with Levy and his crowd.

Mr. Vastola/DeCavs & Genoveses had 'controlling intersts' in Roulette Records. They got into the discount 'cut out' record biz as well.

Exactly, Lilo. Those guys miss vending, that's for sure. They're still in it to a degree, but nothing like before. Hell, you have to get bonded today to do just about anything involving that industry.

Anyway, the jukeboxes were really where they had you by the balls. If you didn't "play ball," as Lilo said, your records (the old 45s) didn't get into the jukeboxes. And it goes without saying that it wasn't exclusive to Doo-Wops. If you want to read a great book about how a guy got fucked for not playing along, I strongly suggest "Making the Wiseguys Weep: The Jimmy Roselli Story," by David Evanier.

Jimmy Roselli was an Italian American singer from Hoboken. He grew up on the same block as Sinatra and should have been much bigger than he was. He was big enough in the Northeast, and huge in some Italian American circles (like in my house), but he never really went national because of his thick head. When he refused Joe Colombo's request to play at a civil rights rally, his records wre pulled from all the jukeboxes in New York.

He was able to make a comeback later in life (he was big in Atlantic City from the late '80s thru the late '90s), but he lost out on his prime and he should have really been more successful than he was because the guy sang like an angel.

All i know is that my favorite artist from the 50's ( Jackie Wilson) was screwed by a guy with alleged mob ties.

On the way from Amazon .74 (3.99 s/h) Along with The Italian Album and Best of...

Thanks for heads up...

I'm a great guy. Just ask anyone here .

Yeah and you like music which is sang aside trash barrel's on fire!

Magnifico! Somebody tell me why this isn't on the screen...better yet HBO series...it's all there..the mob, pathos, drama, real life hoods and celebrities... ya gotta be kiddin me. Man stands against overwhelming forces refusing to trade his integrity for the world's acclaim...and willing to accept his fate...A man with an incredible gift meant to be shared with the world...Whence comes such men.....


Forever in your debt,
This ones for you PB

Yall do yourself a favor...get this book...

Who's the smartest guy on this site?

Funny you picked that song, VG. It's the gold standard among the old African American jazz set. Everyone has recorded it, from Ella to Sammy. And yet Jimmy, a Neapolitan American, holds his own. Am I right?

Like I told you before---and you've now read in the book---the guy could have been huge if not for his thick skull. And speaking of the old jazz standards, I saw him do "Birth of the Blues" at the old Harrah's in Atlantic City back in the late '80s. He absolutely brought the house down. That's a song he never recorded in the studio, and it's a shame. I wish I had a recording of that song on that particular night. Goosebumps, man.

But his bread and butter was still the Neapolitan love song:

they dont makem like that anymore

What you say! You don't gotta be a lasagna-lover to appreciate the phrasing, melodic intonation, and range--even if you don't dig the lingo.

One question: who plays this guy once finance is secured after we put a horse's head in somebody's bed?

For real tho--surprised something has sprung up on Kickstarter or other public-finance start ups (since it's always 'bout the $ in H'wood), hell, looks like even the boys would've backed such a promising project (--there's a script right there...damn I'm in the wrong line o'work).

Actually, David Evanier optioned the rights almost immediately back in 1998 before the book was even published. John Travolta was attached to the project for the longest time, but it fell apart. I don't see him in that role anyway. Besides, he's already attached to another movie that will never get made. That Gotti whitewash.