Jews without mitzvos

 When Three's Company began its fifth season in late 1980, Somers demanded a salary increase "from $30,000 an episode to $150,000 an episode, equal to what Ritter was making and comparable to the salaries of other male sitcom stars at the time"^[35] as well as 10% of the show's profits.^[36] DeWitt and Somers were paid the same, less than Ritter, but DeWitt also had a "favored nations" clause in her contract, which guaranteed she received equal terms to other cast members.^[37] Somers' request was influenced by her second husband and manager, Alan Hamel.^[38]

"The night before we went in to renegotiate, I got a call from a friend who had connections high up at ABC, and he said, 'They’re going to hang a nun in the marketplace, and the nun is Suzanne,' The network was willing to do this because, earlier that year, the women on Laverne & Shirley had gotten what they asked for, and they wanted to put a stop to it. They’d destroy the chemistry on Company to make a point." — Alan Hamel, 2015^[35]

ABC was willing to offer only a $5,000 per episode raise.^[33] Somers then refused to appear in the second and fourth episodes of the season, citing excuses such as a broken rib. She finished the remaining season on her contract; however, her role was reduced to just 60 seconds per episode, with her character appearing in only the episode's closing tag in which Chrissy calls the trio's apartment from her parents' home. After ABC fired her from the program and terminated her contract, Somers sued the network for $2 million, saying her credibility in show business had been damaged. The lawsuit was settled by an arbitrator who decided Somers was owed only $30,000, due to a single missed episode for which she had not been paid. Future rulings also favored the network and producers. Somers said she was fired for asking to be paid as much as popular male television stars.^[36][37][39]

Hamel was born in Toronto of Jewish descent.

gotta love the south

 

another jew without mitzahs and a gentile raised in the south

 End3of6Days9 (Helen) 🇺🇸

Bob Denver Refused to Let the Professor and Mary Ann Be “The Rest”

If you watched the first season of Gilligan’s Island, you may remember something odd about the theme song.

After naming Gilligan, the Skipper, the millionaire and his wife, and the movie star, it ended the roll call with:

“And the rest.”

“The rest” were Russell Johnson and Dawn Wells — the Professor and Mary Ann.

There was a reason. Tina Louise, who played Ginger, had a contractual billing arrangement that put her at the end of the opening credits. Johnson and Wells had signed later and wound up in the closing credits instead. So when the theme song was written, their characters were simply bundled together as “the rest.”

But before Season 2, Bob Denver decided that wasn't right.

He asked that Johnson and Wells be included with everyone else. When the studio pushed back, Denver had some leverage of his own: his contract allowed him to choose where his name appeared in the credits.

So Gilligan made them an offer.

If the Professor and Mary Ann had to stay at the end, put him there with them.

Moving the star of Gilligan’s Island out of the opening wasn't exactly an attractive option.

The studio relented.

For Season 2, the theme was re-recorded, “and the rest” disappeared, and two familiar names finally joined the roll call:

“The Professor and Mary Ann.”

Years later, Dawn Wells said she hadn't even known the full story at the time. She remembered Denver as the one who went to bat for them.

Bob Denver didn't make a big production out of it.

He just refused to let two of his fellow castaways be treated like “the rest.” ❤️

------------------------------

Louise was born Tina Blacker on February 11, 1934, in New York City.[2] An only child, she was the daughter of Sylvia (née Horn, later Myers), a fashion model, and Joseph Blacker, a candy store owner in the Brooklyn borough who later became an accountant.[1][3] She attended PS 6 and Scarborough Day School, and studied at Miami University in Ohio.[4] She is Jewish.[5]

Denver was born on January 9, 1935,[1] in New Rochelle, New York, the son of Arthur Leo Denver (1895–1957)[2] and Marion R. Denver (née Osborne, 1902–1990),[3] and he was raised in Brownwood, Texas. 

welcome home lad

 

is this what you were expecting when you become frum?

jews without mitzvahs

 Wanna know the REAL difference between Bruce Springsteen and Bob Seger? 

In 1985, Peter Bogdanovich wanted to use Springsteen songs for Mask, since Rocky Dennis, the kid the film is based on, was a big Springsteen fan. He was turned down, because Springsteen was at the height of his popularity and wanted a huge royalty on top of the usage fee. Rocky's mother was heartbroken and said so.

Bob Seger stepped in and said they could use his songs without royalties, because he felt so strongly about the film. They did so.

After a furor in the press, Springsteen later folded and blamed it all on his record company. Which as we know now is totally on-brand for him.

------------------

Jon Landau (born May 14, 1947)^[1] is an American music critic, manager, and record producer. He is best known for his work with Bruce Springsteen.

Born in New York City to a Jewish family, Landau grew up in Bensonhurst, Brooklyn, and then in Queens before his family moved to the Boston suburb of Lexington, Massachusetts, when he was 12.

------------------

Edward "Punch" Andrews is a music producer who produced many albums of Bob Seger and The Silver Bullet Band and served as his manager for over fifty years.^[1] Andrews has also managed Kid Rock^[2][3] as well as Grand Funk Railroad during the mid-1990s.

You can bet the managers had a big role in the decisions.

Approaching the rabbi

 

Victor Hugo

 Victor Hugo wept over poverty by day and sexually exploited it by night.

Behind the figure of the revered old sage, celebrated for his defense of the oppressed, lurked a cynical bourgeois who directly profited from the hunger of street urchin girls, frantically buying up young girls often just fifteen or sixteen years old. The man who made entire generations weep over the tragic fate of working-class women reduced to selling their bodies to survive offered himself that same misery for a few centimes. The great moralist even kept a horrifying ledger of his abuses. In his intimate notebooks, he methodically recorded the sordid rates, the ages, and the sexual acts, reducing the flesh of the wretched to a mere ledger of accounts. His encrypted journals are filled with chilling entries, such as: "The little laundress, 15 years old: 2 francs," or "Girl from the Rue de la Verrerie. 16 years old. 1 franc 50," amid cold anatomical descriptions coded in Spanish. The cruelty of this man is illustrated in an even more tragic way with Juliette Drouet, the devoted mistress who sacrificed fifty years of her life to him. While the writer positioned himself as the universal champion of freedom, he demanded total submission from his companion, locking her away behind double bolts and destroying her acting career. As he amassed a colossal fortune from his royalties, he took sadistic pleasure in keeping her in humiliating poverty. His correspondence reveals the ordeal of a broken woman. Shivering with cold in winter, Juliette had to beg him to pay the butcher or buy firewood, writing to him in despair: "I am so poor, my adored one, that I no longer have shoes to put on my feet." While she pawned her own dresses to survive, Hugo spent without restraint to multiply his encounters with adolescent girls from the poor neighborhoods. The literary world today maintains a convenient amnesia to protect the golden statue of the great republican in the Panthéon. His own writings depict rather a profiteer of morality who sublimated poverty in his books in order to better buy and enslave it in his bed.