(A young gangly Robert Deniro dances with his slinky black girlfriend thirty years ago on home movies. He is spelling out G.L.O.R.I.A. with rock and roll abandon while his partner sensually embraces him).

Thirty years later imagine Martin Scorsese directing this intense tragedy of one man’s obsession with music (Deniro as “Frank”) that brings him to one of the most powerful positions in the music business – as creative CEO of ROUNDANDBLACK RECORDS INC: a potent combination of genius businessman David Geffen, the genius discovering ears of Clive Davis and the historically musical genius of Ahmet Ertegun. Although he is always almost-too-impeccably dressed, he is just as comfortable at CBGB’s as Lascala or a club in Harlem and he is always accompanied by 2 or 3 young attractive hipsters who carry the drugs, secrets and generational access. His pleasant demeanor conceals a tyrant’s need for total control but only his inner circle of friends, partners and family knows this side of him. He is sought by the media to explain and apologize for the music industry’s latest outrages. After a series of violent outbreaks among the young he is asked to testify before the senate, which is threatening governmental controls and censorships.

To an accusation by a particularly dim southern senator that it all sounds like noise, he replies, “Yes, well, Senator I’m certain there are times in this very chamber when the discussions begin to sound like noise, also. But you know every new generation is accused by the previous generation of listening to less worthy music: Sinatra, Rock n Roll, Little Richard, Presley, The Beatles, The Rolling Stones, The Sex Pistols, Disco, Madonna, Rap, Hip-Hop, Brittany Spears – All regressions according to the following generations. My generation boasted of both wanting satisfaction and hoping to die before we get old. Many of us discovered the joys and pitfalls of both desires. But there should never be governmental restrictions limiting our explorations – especially on something as personal and subjective as music. Let me just say that I am not a fan of all music but I am fervently opposed to turning a deaf ear to its right to be heard. Your claim that it is all “noise” is not to be taken lightly. Noise implies disorder or disharmony and as much as those qualities are anathmic to most governments; we are a democracy where all sounds are to be equally respected in context. Free speech that is expressed in song is music to my ears – even if, at times, I am also lost in the noise.”

Frank is pursuing a beautiful black singer like Alicia Keyes who he goes to hear in a small New Jersey club. A twenty-something black man with attitude approaches Frank’s table and challenges his credentials to sign this artist. Frank listens to this diatribe while his company employees and lackeys at the table sit stunned or ready to jump to Frank’s defense but after a pause - while the accuser and Frank stare at each other - Frank introduces his estranged son (Eff) to the table. The singer (Jersey) arrives at the table torn between the two men’s attention. Eff has produced her demo and befriended her.

Frank’s son has arrived from California where his was raised by his mother, a jazz singer (Dee), who plays small clubs and has a respectful following. There is a special bond between mother and son. Frank’s relationship with his ex is complex and confused; he chose his work over his commitment to her. His workaholic lifestyle has led to rumors of rampant bisexual promiscuity and drug use after hours but his public record is clean. As a businessman he is famously quoted when asked about escalating bidding wars for talent as having said, “It’s too vulgar to discuss money.” He is currently a multi-millionaire who still adds up the restaurant bill before paying it….and leaves no tips behind.

The story of Frank’s tragedy is his discovery of this brilliant new talent who reminds him of his ex thirty years ago. He falls hard for her but his son has been there first. A terrible contest develops between father and son for her talent, her heart and her soul. Jersey is torn between them as she is initially thrust into the ugliness of the public eye. Her gang past returns to haunt her. He hip-hop mafia of East coast vs. West Coast threatens violent retaliations.

Frank’s ex is performing in a N.Y. jazz club – he brings Jersey to the show and the singer has and epiphanous experience hearing Dee sing. Dee confronts Frank over their son – he agrees to allow Eff to produce a cut on Jersey’s album. In the recording studio Jersey is accompanied by a posse that is unfriendly to Eff and his friends – tensions build when Frank arrives. He is displeased by the work and empties the studio making enemies of both gangs. A battle for Jersey’s soul ensues between father and son seemingly over the music.

Outside in the world violence strikes again with the murder of another rap star. The media jumps on the bandwagon full force. Frank is pursued by the media in public and private. His separate declarations of love to Jersey end in sexual surrender but it is not enough for him. He must have her soul. Dee warns him that his has all happened before in another time in a different world. Crazed with jealousy and much more, Eff shows up at the next recording session with a gun threatening to kill his father

Six months later a beautiful blonde woman is driving onto PCH. From her point of view we see a man in the next car bopping to unheard music. As she pulls alongside him smiling, we see it is Frank driving. He lowers the window to acknowledge her. He hear the end of The Who’s ‘My Generation’ as she passes him. The disk jockey announces, “The Who?! A blast from our past. Now here’s a blast from our future - the most controversial hit in the USA and number one for the fifth week, Jersey’s ‘Lost In The Noize’.”

The song begins with the sound of gunshots. Frank pulls over to the side of the road listening. The volume grows louder and louder.

© 2004 by Richard Sassin