Features
Winnipeg’s Jerry Shore looks back on seven decades in show business – including a stint as Harry Belafonte’s tour manager
By MYRON LOVE
For my 21st birthday in 1970, a couple of friends treated me to a ticket to Winnipeg’s first ever major outdoor rock concert. One of the principal organizers of that concert, which was called the Man-Pop Festival, and which was held on Saturday, August 29, was Jerry Shore, who turns 90 on July 23.
The concert at the old Winnipeg Stadium featured headliners such as Led Zeppelin, Iron Butterfly, Chilliwack and The Youngbloods.
What I remember about it was that the day dawned bright and sunny. But, around noon, the clouds rolled in and it poured. After a delay of several hours, we were all moved into the old Winnipeg Arena, where the concert resumed and lasted until after 3:00 A.M.
Shore was working closely with the late Maitland Steinkopf in those years. He recalls that Steinkopf made arrangements to move the concert to the arena and borrow equipment on short notice from all over the city.
“It was an amazing concert,” he recalls.
Jerry Shore’s life story is one that most people in the world can only dream about. In a career in show business spanning nearly 70 years, the lifelong Winnipegger has worked with some of the biggest names in music in all of its various genres. He has albums full of signed photos by rock stars, opera greats, leading Country & Western singers, popular singers and prominent actors – as well as a politician or two.
The show business tour manager and talent booker’s clients have included: Harry Belafonte, Nana Mouskouri, the flamboyant pianist Liberace, Richard Tucker and many more. He was also by Steinkopf’s side when the Concert Hall was being built in the mid-1960s – and booked the first act. As well, Shore was in on the ground floor for the founding of Rainbow Stage.
As is the case with many successful people though, Jerry Shore just happened to be in the right place at the right time.
Unusual for a Jewish kid in Winnipeg in the 1930s, Shore grew up in River Heights. His father, Sam, operated a candy factory – “Shore’s Candy Company”. The elder Shore retired in the late 1940s and passed away in 1950.
Jerry Shore’s first big break came about while he was at university. He became friendly with of his professors – one James Wilson, who had stood for office as a Liberal candidate.
“I was a young Liberal and worked on his campaign,” Shore says. “He was on the organizing committee that had been created to form Rainbow Stage. That was in the mid-1950s. I was a member of the Board and/or Director of Promotions off and on for 20 years.”
It was through Rainbow Stage that Shore became associated – in the mid-1960s – with Maitland Steinkopf. “Maitland Steinkopf was one of the most amazing people I have ever met,” Shore notes. “He almost single-handedly raised most of the money to build the Concert Hall.”
And it was Shore who arranged the new Concert Hall’s first concert – by Jewish opera star Richard Tucker. Tucker, Shore recalls, was very protective of his voice. The morning of the concert, the opera star called for Shore to pick him up in the early afternoon.
“Although it was a hot day in May, Tucker came out of the hotel wearing an overcoat, scarf and hat,” Shore recounted. “He wanted me to drop him off at a movie theatre where he spent the next three hours. He didn’t want to have to talk to anybody.”
Shore explains that he became involved in the world of opera after going to Minneapolis to attend a performance of the Metropolitan Opera on tour. “I met some of the people involved and we became friendly,” he recounts. “I arranged to hold auditions in Winnipeg for the Metropolitan Opera. I also arranged a Canadian tour.”
Other opera stars with whom he has worked have been Jan Peerce, Joan Sutherland, Robert Merrill and Pavarotti.
The second act that Shore booked at the Concert Hall was Harry Belafonte. “We became really good friends. He came back for a second show 18 months later. Harry was very meticulous. He had hired a new manager just before his second Winnipeg appearance. He moved on to Regina after the Winnipeg show. A couple of days later, I get a call from him. He had fired his new manager and wanted me to take over as his tour manager.”
Shore organized three tours for Belafonte (whom he recalls as quite shy, as well as outspoken on race relations). “I was in charge of booking fights and ground transportation, hotels, everything, even paying the staff.”
The highlight of his time with Belafonte was his tour of Cuba. “Harry was the first American artist to visit Castro’s Cuba,” Shore recalls. “CBC was doing a special on Harry Belafonte and his roots. There were 30 of us in the group. We get off the plane and there were men in uniform with sub-machine guns everywhere. It was a little scary.”
The Cubans, Shore remembers, treated Belafonte and family like royalty… the rest of the group not so much.
“The hotel we were staying at was the National – that had been built by (Jewish gangster) Meyer Lansky,” Shore reports.
The next morning, the group was informed that Fidel Castro himself was coming to visit. “Fidel pulled up outside the hotel with two armoured cars in front and in back. His English was very good and he was an imposing figure. He gave each one of us a bear hug.”
The three celebrities that he says most impressed him were Liberace, Sir Lawrence Olivier and Bill Clinton. He recalls an appearance by Bill Clinton in Winnipeg about 20 years ago.
“We had arranged a private function at Dubrovniks before he spoke,” Shore recounts. “The first thing Clinton did on entering Dubrovniks was to shake hands with all of the bartenders and serving staff. He did the same thing at the Concert Hall.
“He had an aura about him. He had the common touch.”
Surprisingly, so did the award-winning actor Olivier, says Shore. “Larry” was appearing at a news conference at the Fort Garry Hotel – a conference that Shore was chairing. Shore recalls that Olivier went up to each of the 30 journalists and introduced himself.
As for Liberace, Shore recalls an exchange he had with former Winnipeg radio talk show host Peter Warren. It was Liberace’s first visit to Winnipeg and Warren asked the last question at the press conference. The ever-skeptical Warren asked something along the lines of why anyone would be foolish enough to buy tickets to the pianist’s concerts. Liberace’s response was that anyone who wouldn’t want to buy a ticket to one of his concerts would be the fool.
Of Liberace, Shore recounts that the star used to carry around a Crown Royal bag with him wherever he went. “I never asked him what was in it,” Shore says. “But one time when I was with him, a clerk in a store asked what was in the bag. Liberace said that in the bag was his insurance policy. He opened it to show that it was filled with cut diamonds, rubies and emeralds.”
Remarkably, Shore has just been completely retired for the past three years.
Ironically, Shore observes, for all the traveling he has done throughout his career, he has actually seen very little of the world. “The routing was to get off the plane,” he says, “go to the hotel, spend four or five days preparing for the concert than boarding the plane again for the next city.”
These days, Jerry Shore spends his time reading (mystery novels and biographies), watching favourite TV shows, and enjoying his vast collection (over 800) of cookbooks. He keeps in touch with friends from show business who are still around. But, he says, he doesn’t miss being part of the scene.
“It’s not like it used to be,” he notes. “The personal touch is no more. All the little guys like myself have retired or been pushed out by corporate operators.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
Related
- Actor-Director Rob Reiner dies at 78
- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.