“Le Freaks” will come out at night starting July 27 as Spiegelworld transforms 3535 Las Vegas Blvd. (The Linq hotel-casino) into the epicenter of four-on-the-floor beats and mirror balls with the debut of Discoshow.
More than four years in the making, Discoshow is the latest spectacle from the Las Vegas show producer that characterizes its style of entertainment as “human circus,” led by wizard of “Oz” Ross Mollison. It joins a compendium of Spiegelworld productions, including Absinthe at Caesars, Atomic Saloon in Venetian and The Hook at Caesars Atlantic City, along with bi-coastal versions of psychedelic Italian-American restaurant Superfrico at The Cosmopolitan and Caesars Atlantic City.
Mollison believes that Las Vegas audiences will love disco, even if they don’t know it yet. “We’re wired for disco. It goes through into our soul. People also want an excuse to go out and party. So much of what is produced now is so serious,...
More than four years in the making, Discoshow is the latest spectacle from the Las Vegas show producer that characterizes its style of entertainment as “human circus,” led by wizard of “Oz” Ross Mollison. It joins a compendium of Spiegelworld productions, including Absinthe at Caesars, Atomic Saloon in Venetian and The Hook at Caesars Atlantic City, along with bi-coastal versions of psychedelic Italian-American restaurant Superfrico at The Cosmopolitan and Caesars Atlantic City.
Mollison believes that Las Vegas audiences will love disco, even if they don’t know it yet. “We’re wired for disco. It goes through into our soul. People also want an excuse to go out and party. So much of what is produced now is so serious,...
- 1/30/2024
- by Melinda Sheckells
- The Hollywood Reporter - Movie News
Welcome to Deadline’s The Hot Ones, our guide to some of the best television being sold at Mipcom next week. Our editorial team has done extensive research in the run-up to the 2023 market and handpicked what we think are sure to be the shows that will be big talking points at this year’s event in Cannes. In between meetings and cocktail parties, you’re sure to hear whispers about the next potential global hit and The Hot Ones is here to guide you. Here’s three top docs headed for the Croisette.
The Playboy Bunny Murders
Distributor: Blue Ant International
Length: 2×60’
Producers: Soho Studios, Future Studios
The Playboy Bunny Murders is a story so pressing that its presenter Marcel Theroux was “going to do it whether there was a TV commission or not,” says executive producer John Farrar of the Itvx two-parter.
Theroux, older brother of recent MacTaggart lecture giver Louis Theroux,...
The Playboy Bunny Murders
Distributor: Blue Ant International
Length: 2×60’
Producers: Soho Studios, Future Studios
The Playboy Bunny Murders is a story so pressing that its presenter Marcel Theroux was “going to do it whether there was a TV commission or not,” says executive producer John Farrar of the Itvx two-parter.
Theroux, older brother of recent MacTaggart lecture giver Louis Theroux,...
- 10/12/2023
- by The Deadline Team
- Deadline Film + TV
The notion that, 40 years ago, Madonna was a shooting star predestined for the stratosphere is the stuff of pop music myth. The then-twentysomething singer’s demo tape, which included early versions of classics like “Everybody” and “Burning Up,” was rebuffed multiple times before she finally landed a deal with Sire Records, best known for punk and new wave acts like Talking Heads and the Ramones. Madonna became the label’s flagship act, thanks to the slow-burning success of her self-titled album, which finally hit the Top 10 more than a year after its debut and would go on to spend a staggering 165 consecutive weeks on the Billboard chart.
Madonna was so eager to move on from her debut and release her second album, Like a Virgin, that, during an on-air interview with MTV, she publicly hexed her latest single, “Borderline,” hoping it would “fizzle out.” No such luck. The song became...
Madonna was so eager to move on from her debut and release her second album, Like a Virgin, that, during an on-air interview with MTV, she publicly hexed her latest single, “Borderline,” hoping it would “fizzle out.” No such luck. The song became...
- 7/26/2023
- by Slant Staff
- Slant Magazine
In early December of last year, back when we still could go places, I took a trip to New Orleans, where seemingly every gay bar I visited had already added Dua Lipa’s “Don’t Start Now” into rotation. The song was barely a month old at that point, but it felt like she’d found a recipe for club glory with her sleek new disco-influenced tune. The song’s appeal was immediate in the moment, with hooks piled upon hooks in such a way that I couldn’t have...
- 4/22/2020
- by Jon Freeman
- Rollingstone.com
Here’s a partial list of musicians we lost in the 2010s: Aretha Franklin, David Bowie, Chuck Berry, Ornette Coleman, B.B. King, Etta James, Whitney Houston, Lou Reed, Leonard Cohen, Prince, Merle Haggard, Kitty Wells, João Gilberto, Ravi Shankar, Tabu Ley Rochereau, David Mancuso, Amy Winehouse, Abbie Lincoln, Gil Scott Heron, George Jones, George Martin, George Michael, Allen Toussaint, Donna Summer, Phife Dawg, Prodigy, Adam Yauch, Heavy D, Captain Beefheart, Robert Hunter, Gregory Isaacs, Johnny Otis, Big Jay McNeely, Levon Helm, Kate McGarrigle, Guy Clark, Pete Seeger, Ralph Stanley, Gregg Allman,...
- 12/11/2019
- by Will Hermes
- Rollingstone.com
Artrution Prods.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
Artrution Prods.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
NEW YORK -- Watching Josell Ramos' talking-heads documentary detailing the history of the underground dance club scene is unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away. "Maestro", which squanders an interesting subject with its amateurish execution, is currently playing at New York's Quad Cinema and opens in Los Angeles on April 2.
The film, clearly the work of a devoted fan of the genre, documents the history of the New York underground milieu, concentrating on such famous clubs as the Loft and the Paradise Club and such legendary DJs as the late Larry Levan (the film's central figure), Frankie Knuckles and David Mancuso, among others. Needless to say, the nature of the clubs did not encourage extensive documentation, so the archival footage on display here, what little of it there is, is grainy and hard to watch. Still, aficionados will no doubt thrill to rare vintage glimpses of the various clubs and such DJs as Levan spinning their discs, even if we get to hear far too little of the music that powered the scene.
The film is largely composed of interviews, both with pivotal figures of the culture and many of those who have patronized the clubs both in years past and present day. Clearly aiming for an underground aesthetic, the director has filmed the bulk of the interviews, which vary wildly in interest, using the same grainy and blurry format as the archival footage. The results are more painful than atmospheric, although the rabid enthusiasm of many of those interviewed well conveys the reason for the clubs' success.
More damagingly, the film provides little in the way of coherent history or context, with the result that those not already highly familiar with the subculture will come away with little or no additional understanding.
- 3/19/2004
- The Hollywood Reporter - Movie News
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