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From Mel Brooks to Elaine May to Ethan Coen: Producer Julian Schlossberg writes memoir about working with Jewish stars over 6 decades

(JTA) — On a couple of occasions in Julian Schlossberg’s early life, he found himself in parts of the United States where some people he talked to had never met a Jewish person. The first was a stint in the Army, the second was while selling movies to rural television stations.

But over the next six decades — once Schlossberg embarked on a long and successful career that included stops as a Hollywood studio executive with Paramount Pictures and later as a prolific distributor of movies and producer of off-Broadway and Broadway shows — he was rarely the only Jew in the room ever again.

Schlossberg tells those stories and many more in his new memoir “Try Not to Hold It Against Me: A Producer’s Life” (Beaufort Books). He writes about how he went from a child in the Bronx to an influential show business figure who mingled and worked with countless movie stars, having enjoyed a long career that shows no signs of being over at age 81. 

Schlossberg was born in 1941, and grew up in what he describes as a middle class family, in a Bronx neighborhood that at the time was heavily Jewish and Irish. His father Louis played semi-pro baseball, but as Schlossberg writes in the book, turned down the chance to play for a team in Kansas City in part because “there were almost no Jews in baseball.” Instead, Louis spent most of his professional life working in Manhattan’s Garment District. 

The family lived near the Kingsbridge Armory, then likely the largest of its kind in the world, which hosted conventions, car shows and rodeos that came through the city at the time. Those rodeos, in fact, were Schlossberg’s introduction to showbiz. 

“I would go as a kid and just revel in the fact that I was meeting these incredible stars,” he said.

Schlossberg with Jewish star Michael Douglas. (Courtesy of Julian Schlossberg)

Meeting stars would eventually become commonplace. Before and after his time in the Army in the early 1960s, Schlossberg worked as a cab driver, a busboy, a waiter, a counselor, a typist and more while taking college classes at night. He got a job at the ABC in 1964 and worked his way up the company’s ranks. 

“I had decided, as a very young man, that since I didn’t have a law degree or a dental degree or a medical degree, I was going to learn every aspect of show business that I could,” he said. “I didn’t know what it was going to do, but I knew that knowledge was power, and that if I had knowledge, maybe I’d get some power.” 

He would live out that goal, working in just about every area of entertainment, from radio to movie distribution to theater producing. (He goes back and forth on which one he likes best.) 

In the 1970s, he hosted an AM radio show called “Movie Talk,” for which he interviewed hundreds of movie stars. WMCA station executives wanted Schlossberg to use a different stage name, to sound less Jewish.

“They didn’t want it to be ‘a Jewish name,’ and I said ‘Wait a second — if I’m going to be on the air in New York City, I can’t be a Jew?’ So they gave in, and I kept my name,” he said. “You kind of want to remember the times you did stand up, I guess. Not that it was a giant standing up, but I would have not done the show if they had asked me to change my name, because it made no sense to me.” 

Speaking of Jews, Schlossberg has worked with a virtual who’s-who of famous Jewish entertainers over the years, from Neil Simon to Lillian Hellman to Sid Caesar to Mike Nichols to Peter Falk to Ethan Coen. And the ones he didn’t work with, he hung out with socially. Barbra Streisand invited him to a famous birthday party (that ended up taking place at Liza Minnelli’s house), and Mel Brooks has always greeted him as “Schloss Berg,” as if his name were two words.

Schlossberg with Barbra Streisand, right, and Merryn Jose. (Courtesy of Julian Schlossberg)

Schlossberg’s film production credits range from the 1994 British mystery “Widows’ Peak,” starring Natasha Richardson and Mia Farrow; to the 1980 “No Nukes” documentary that filmed an anti-nuclear weapons concert with the likes of Bruce Springsteen and Jackson Browne; to a revival of the long-buried version of Orson Welles’ “Othello.”

In 1995, Schlossberg worked with three prominent Jews on one off-Broadway production: a set of one-act plays performed together each night, called “Death Defying Acts,” written by Woody Allen, David Mamet and Elaine May. Schlossberg later produced the Broadway adaptation of Allen’s movie “Bullets Over Broadway,” while May, whom Schlossberg likens to a sister, contributed the forward to his book. 

“Elaine is, as I’ve written, the smartest person I’ve ever met, and probably one of the most talented if not the most talented, because there is nothing that she cannot do,” Schlossberg said of the now 90-year-old Oscar, Tony and Grammy winner. “She’s a great actress, she’s a great writer, and she’s a great director. And she’s a hell of a friend.” 

At one point in his career, as he details in one chapter, Schlossberg crossed paths with another Jewish producer: Harvey Weinstein. When Weinstein was young, the now-disgraced serial sexual harasser approached Schlossberg and asked him to teach him the movie business. The two men worked together for a time, although eventually they fell out. 

“I never in my wildest dreams thought he would hit the heights that he hit, or the depths that he sunk to. Never,” Schlossberg said. 

Another of Schlossberg’s mentoring experiences ended on a more positive note. Mark S. Golub, a rabbi, came to Schlossberg for advice in the late 1990s on learning the theater business. Golub, who died late last month at 77, went on to become a prolific Broadway producer and the founding president of the Jewish Broadcasting Service channel.

It was a fruitful partnership: Golub learned about the industry, and Schlossberg absorbed lessons about Judaism.

“It was a very interesting combination, of somebody who certainly knew a great deal about Judaism, and myself, who was learning a lot by that time about [Judaism],” Schlossberg said. “It was interesting to me to be partners with a rabbi.”

Schlossberg had several projects set to go at the start of the coronavirus pandemic, but when the industry shut down, he wrote his memoir instead. Now he’s looking to rev up some of those projects. Next up on the docket is “Tales From the Guttenberg Bible,” an autobiographical, four-character play written by and starring the Jewish actor Steve Guttenberg. It is now set for its world premiere in April, at the George Street Playhouse in Rutherford, New Jersey. 

“I think audiences will respond to it, because he’s so kind and personable and living… a nice Jewish boy,” Schlossberg said of Guttenberg.


The post From Mel Brooks to Elaine May to Ethan Coen: Producer Julian Schlossberg writes memoir about working with Jewish stars over 6 decades appeared first on Jewish Telegraphic Agency.

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How to Implement a Successful Casino Marketing Strategy

Your casino stands out in your market and attracts interest. But does your audience know that? With effective marketing, you can transform your casino from an average competitor into a top industry player. We will show you proven strategies to boost your business now and in the future. And when you have proven strategies like insights from a High Roller online casinos review in Canada, the possibilities are endless.

1. Improve Visibility

With stiff competition among casinos, being easily found online is crucial. Discoverability measures how simple it is for people to find your casino.

Put yourself in the shoes of one of your guests looking for a casino. How easy is it to find yours? Try searching on different engines, checking reviews on travel sites, and looking for your casino on social media. See how often your casino appears and how well it ranks. Use tools like Moz and SEMrush to get a clear picture of your current visibility.

To increase your casino’s online visibility, there are a number of strategies you can try. First, try to create distinct landing pages for each key amenity at your casino. Incorporate relevant keywords, high-quality images, and engaging headlines.

You can also use search engine ads carefully. Follow Google’s guidelines by targeting approved countries. These include responsible gambling information on your landing pages and avoiding targeting minors. Check local regulations and test ads with relevant keywords.

Don’t forget to set up social media profiles on platforms your audience frequents. Engage in discussions about gaming, your casino, local news, and community events.

Optimize your content with keywords about your amenities, location, unique features, and events. Highlight what sets you apart so visitors can easily find you.

Use beacons or proximity marketing to attract nearby guests, especially when competing with other casinos. This helps target customers in the real world, not just online.

Form partnerships with local businesses, entertainers, event suppliers, and food vendors to boost your visibility and word of mouth.

2. Focus on Events and Group Business

Your casino offers more than gaming. You might have a luxury hotel, advanced technology, event spaces, a spa, and great restaurants. So, think about the whole picture in your marketing.

Casinos are great for big events like weddings, conferences, and reunions. Make sure your marketing targets these opportunities to attract them.

3. Identify the Jobs to Be Done

Marketers used to rely mainly on demographics, like age, income, and education, to predict behavior. Understanding audience behavior based on demographics is useful. For example, Anderson Digital notes that Boomers and Gen Xers spend 80% of their casino money on gaming and 20% on food and entertainment. In contrast, Millennials spend 30% on gaming and 70% on food, entertainment, and other services. To attract Millennial and Gen Z customers, focus on better entertainment, food options, online game components, and mobile marketing.

However, demographics alone don’t tell the whole story. For instance, knowing a group of women outside your casino are in their late 20s, college-educated, and have high-paying jobs is helpful. But, it doesn’t reveal their reasons for being there.

These women might be on a business trip with some free time, in town for a family reunion, or celebrating a bachelorette party. With just their demographic info, it’s hard to know their motivations, challenges, or needs.

This framework helps marketers understand why customers choose their products or services. Women at a casino for a bachelorette party are looking for a fun atmosphere with entertainment, food, and drinks. But if they’re there for work, they need a stress-free environment with good Wi-Fi, charging stations, and quiet spaces for meetings.

Understand what your audience wants and how they see your role. This helps you tailor your messaging, marketing, and offerings.

4. Create Positive Feedback Loops

Casinos attract customers with fun experiences like gaming, dining, and entertainment. By enhancing these positive feelings, you can boost your casino’s marketing success and encourage repeat visits.

Feedback loops happen when the result of an action is used to influence the action itself. For example, if a child makes a parent laugh, they’re likely to repeat the funny behavior to get more laughter.

Positive feedback loops make it more likely that the action will be repeated. Negative feedback loops make it less likely. You likely use positive feedback loops in your casino already. Guests who win are happy and want to play again. Those who have a bad experience are less likely to return.

You can enhance marketing by using feedback loops. After a positive experience, like winning or a great meal, encourage guests to refer others or leave reviews. If a guest uses a discount, offer another deal immediately. If your casino has a hotel, send emails encouraging future bookings right after positive experiences, like upgrades or enjoyable events.

Reply to positive feedback and reviews with invitations for future experiences. Make sure to also reward loyal customers with special offers and exclusive perks. Don’t forget to address negative feedback by turning it into a positive experience. 

5. Use Social Proof

People usually trust each other more than they trust your brand. They’re more likely to listen to recommendations from friends or online reviews than your own claims. 

To build trust, you need endorsements from others. Social proof means people tend to follow the actions of those they admire.

Show positive reviews on your website and social media. Record video testimonials from satisfied guests and winners. Encourage guests to share their experiences online and tag your casino. Keep an eye on reviews and respond to feedback. Set up a photo booth in the casino for guests to take winning photos. Display pictures and videos of recent winners on screens around the casino. Think about your audience’s motivations and where they get their information to find creative ways to use social proof.

6. Keep Up With Gaming Trends

Casinos are changing quickly. Online gaming, e-sports, and new tech like virtual and augmented reality are key. To stay competitive, casinos need to understand and use these trends.

As you create your casino marketing strategy, consider these key trends. E-sports are growing fast, so partnering with teams can help you reach new audiences. Virtual and AR are changing how guests experience gaming, making it more engaging from anywhere. Online casinos are becoming more popular with relaxed regulations. So, keep up with industry changes to stay competitive. Finally, as gaming tastes shift, staying updated on new trends will keep you ahead.

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Comparing European, American, and French Roulette at Canadian online casinos

Roulette is the most popular table game at online and land-based casinos alike. You can easily find a seat at the table, place your bets, and hope that the wheel turns in your favour. But you have surely noticed that the roulette section is quite rich, featuring at least a dozen different tables. Most of them come with a different design and different rules. The most popular roulette variants are American Roulette, European, and French Roulette. In this article, we will try to explain the main differences between each one.

French VS European Roulette

We’ll first compare the French versus the European version of roulette since they are the most similar. The layout of the bets and the wheel is basically the same. Even the table layout is pretty much the same at most online casinos. Depending on the provider some differences can be found, like the layout of the table or the order of the numbers of the wheel. But as far as the odds and gameplay are concerned, European and French Roulette are basically the same. 

Both roulette variants have a single 0 on the board and the same number of slots on the wheel and numbers on the table. There are 36 additional numbers you can bet on, along with the standard Red or Black and Odd or Even bets. This means both games come with a house edge of 2.7%. So, the only difference comes from the introduction of two basic rules in French Roulette. 

  • La Partage
  • En Prison

La Partage

This rule applies to even money bets, and in case the ball lands on the 0 slot. The term comes from the French word which means to divide. All even money bets are divided into half, and the player gets one half, while the other half goes to the house. This rule works greatly in your favour, especially if you’re playing on higher bets. 

En Prison

The En Prison bet is also applied to even money bets and only when the ball lands on 0. Instead of counting as a loss, the bets are held on the table for the following spin, and if you win, you get your bet back. Even though you don’t actually win anything extra, the En Prison rule gives you a chance to get your money back without a loss. 

The introduction of these rules lowers the house edge on French Roulette down to 1.35%. This is why many players prefer the French version, as the odds are better for the player. 

French VS American Roulette

The main and pretty much only crucial difference between American and French roulette is the 00 and the layout of the slots on the wheel. The added 00 on the American version means that the house edge is higher. It climbs up to 5.26%, which is almost double the house edge on European Roulette and a massive difference from the 1.35% on the French version. 

Since there is an added 00 number, the layout of the slots on the wheel is different. On the table, the 00 is next to the 0, so it doesn’t make a big difference to the layout of the table. But the rules in American roulette are quite simple. If your number doesn’t come up, you lose the bet. There are no extra rules like in the French version. 

Conclusion 

If you go by the odds alone, it turns out that the best roulette variant to play at Canadian online casinos is French roulette. But this doesn’t mean you will lose more when you play American or European Roulette. Many players prefer to play the American wheel as it’s faster and more exciting. With the right strategy and some luck on your side, you can easily make a profit on any type of roulette game. 

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Universities Must Be Forced to Address Antisemitism

niversity of California, Santa Barbara student body president Tessa Veksler on Feb. 26, 2024. Photo: Instagram

University of California, Santa Barbara student body president Tessa Veksler on Feb. 26, 2024. Photo: Instagram

JNS.org – “Never would I have imagined that I’d need to fight for my right to exist on campus,” laments Shabbos Kestenbaum, a student at Harvard University who is suing the school because “antisemitism is out of control.”

Jewish students have suffered an unrelenting explosion of hate on American higher education campuses—so far with little relief. They have endured antisemitic rhetoric, intimidation, cancellation and violence. But those charged with keeping campuses safe—whether administrators who govern student and faculty behavior or federal agencies responsible for ensuring that schools adhere to civil rights protections—are failing in their jobs.

Many Jewish students have complained to their colleges’ administrators about the injustices. But instead of responding with measures to ensure Jewish students’ safety—like stopping pro-Hamas protestors from hijacking campuses or expelling militants who incite Jew-hatred— administrators have largely shown indifference. In some cases, college authorities have made things worse for Jewish students by appeasing the riotous, pro-Hamas mobs who have been primary perpetrators of Jew-hatred on campus.

Snubbed by college administrators, Jewish students and their supporters have appealed for federal protection, filing Title VI complaints with the US Department of Education’s Office of Civil Rights (OCR), the body tasked with enforcing protections under the Civil Rights Act. Unfortunately, the OCR, which has the power to levy severe financial punishments against colleges that neglect students’ Title VI rights, has so far rewarded negligent universities with little more than slaps on the wrist.

Until college and university boards of trustees begin hiring administrators committed to Jewish students’ safety—and until the OCR begins seriously punishing antisemitic perpetrators—we can expect no respite. Safe to say, colleges and universities run by arrogant, apathetic administrators will not change until their jobs and schools’ survival are threatened.

College/university administrators don’t take antisemitism seriously. Their reactions to Jewish students raising concerns about Jew-hatred range from indifference to outright hostility. For example, when Mohammed Al-Kurd, who the Anti-Defamation League says has a record of “unvarnished, vicious antisemitism,” came to speak at Harvard, Shabbos Kestenbaum and other Jewish students complained to administrators.

Rather than cancel Al-Kurd’s appearance, which would have been the appropriate action, the administrators ignored the students’ complaints. “Harvard’s silence was deafening,” Kestenbaum wrote in Newsweek. Kestenbaum said he “repeatedly” expressed concerns to administrators about the antisemitism he experienced, but as his lawsuit alleges, “evidence of uncontrolled discrimination and harassment fell on deaf ears.”

Administrators at Columbia University reacted to Jewish students’ complaints about antisemitism even more cynically. In fact, during an alumni event, several administrators exchanged text messages mocking Jewish students, calling them “privileged” and “difficult to listen to.”

When Rep. Elise Stefanik (R-N.Y.) asked the presidents of Harvard, MIT and the University of Pennsylvania if calling for genocide against Jews violated their schools’ codes of conduct, none could say “yes.” The presidents of Harvard and UPenn have since resigned. Good riddance.

Some college/university administrators have outrageously granted concessions to pro-Hamas students. For instance, Northwestern University agreed to contact potential employers of students who caused campus disruptions to insist they be hired, create a segregated dormitory hall exclusively for Middle Eastern, North African and Muslim students, and form a new investment committee in which anti-Zionists could wield undue influence. Brown University agreed to hold a referendum on divestment from Israel in October.

Similar appeasements were announced at other colleges and universities, including Rutgers, Johns Hopkins, the University of Minnesota and the University of California Riverside.

So far, OCR has failed to take concrete action against antisemitism on campus. This is evident in recent decisions involving the City University of New York (CUNY) and the University of Michigan. CUNY was ordered to conduct more investigations into Title VI complaints and report further developments to Washington, provide more employee and campus security officer training, and issue “climate surveys” to students.

The University of Michigan also committed to a “climate survey,” as well as to reviewing its case files for each report of discrimination covered by Title VI during the 2023-2024 school year and reporting to the OCR on its responses to reports of discrimination for the next two school years.

Neither institution was penalized financially, even though the Department of Education has the power to withhold federal funds, which most colleges and universities depend on. There are now 149 pending investigations into campus antisemitism at OCR. If these investigations yield toothless results similar to those of CUNY and Michigan, it is highly unlikely that colleges and universities will improve how they deal with antisemitism.

Putting an end to skyrocketing antisemitism on campus involves three things.

First, donors and governments at every level should withhold funds from colleges that fail to hire administrators who will take antisemitism as seriously as they take pronoun offenses or racism directed at people of color.

Second, the OCR must mete out serious consequences to Title VI violators in the form of funding cuts. This may require legislation that specifically mandates withdrawing funding from offending parties. A bill recently introduced by Rep. Nicole Malliotakis (R-N.Y.)—the University Accountability Act—may be ideal, as it is designed to financially penalize institutions that don’t crack down on antisemitism.

Third, if OCR won’t act, Jewish students and their supporters should turn to the courts. Lori Lowenthal Marcus, the legal director of the Deborah Project, a public-interest Jewish law firm, argues that the CUNY settlement demonstrates the futility of going to OCR and that going to court is more likely to produce “a clearly delineated and productive result,” such as punitive and compensatory fines. As of late May, at least 14 colleges and universities are facing lawsuits over their handling of antisemitism on campus since Hamas’s Oct. 7 massacre.

As long as college administrators are allowed to ignore antisemitism on campus and as long as OCR and other government institutions fall short in punishing Jew-hatred, antisemitism will continue to plague Jewish students.

The post Universities Must Be Forced to Address Antisemitism first appeared on Algemeiner.com.

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