When Victims Rule (pdf)

JEWISH INFLUENCE IN THE MASS MEDIA (PT. 1)
as Funny Girl, the Oscar-winning movie based on the life of [Jewish comedian]
Fanny Brice, Stark’s mother-in-law.” [KING, T., 2000, p. 270] George Shapiro
was Jewish comedian Andy Kaufman’s personal manager. “[Kaufman],” notes
Shapiro, “came to my attention through my darling uncle and client Carl Reiner,
who saw Andy in a nightclub in New York City.” [ZEHME, B., 1999, p. 3]
And on and on.
Sidney Ganis was named president of the motion picture group for Paramount
Pictures in 1988. Here’s how he got his start in Hollywood:
“As a teenager, he responded to a New York Times want ad for an office
boy needed in a show business publicity office. When the rejection note
came, he left it on the kitchen table, where his uncle Phil, a restaurateur
with acquaintances in the entertainment industry, happened to read it.
One call from Uncle Phil, and Sid had the job. Within three years he was
introduced to the publicity chief at Twentieth-Century-Fox who
brought him on board.” [BROUWER/WRIGT, 1990, p. 515-516]
“Hollywood is a make-work town where nepotism is a way of life,” observed
(Jewish) comedian Roseanne Barr’s sister (and longtime manager), Geraldine,
in 1994. [BARR, G., 1994] “In Hollywood,” once joked British character actor
Arthur Treacher, “success is relative. The closer the relative, the greater the success.”
[HAY, P., 1990, p. 262] “I became a director,” says Jay Sandrich (director
of TV’s The Cosby Show, among others), “by being in the right place at the right
time, plus the wonderful thing that helps so many people in this business, nepotism....
My father was a feature film director ... I really had no interest in the
business. I’ve always felt that if my father had worked in the automobile business,
I’d be in the automobile business.” [LEVINSON, p. 118-119] (Cosby’s
Jewish agent, Jerry Katzman, originally arranged the deal for his show with
NBC’s Jewish head, Brandon Tartikoff. One of the two co-writers for the program
was also Jewish, Ed Weinberger. [TARTIKOFF, p. 10, 13] Thomas Werner,
the head of Carsey-Werner, produced “The Cosby Show” and “Roseanne” for
television. In earlier years, as Bill Cosby made the transition from stand-up
comic to television with the I Spy series, his managers were Fred Weintraub and
Roy Silver. The producer of another popular Black-oriented program, Sanford
and Son? Bernard Orenstein).
“Now that Jews govern the New [mass media] Establishment, (their official
mouthpiece is the New York Times),” complained William Cash, a reporter for
Britain’s Daily Telegraph, “does any sort of reverse form of class or racial discrimination
operate against outsiders trying to get access to the entertainment
highway – wasps, blacks, Brits (there is only one Brit of any level of executive
significance in all the major studios, and he is Jewish) and others not so
favoured?” [CASH, p. 15]
“Recently I had a meeting with a young executive,” wrote Jewish screenwriter
Adam Kulakow in a Jewish journal, “to discuss a possible script assignment.
Our conversation began with a discussion of the Eastern European
origins of my surname and segued from their to talk of my grandparent’s arrival
in America ... It wasn’t long before we were playing ‘Jewish geography.’ By the
1180