When Victims Rule (pdf)

JEWISH INFLUENCE IN THE MASS MEDIA (PT. 1)
TV talk show host Jay Leno? His manager is Helen Kushnik, later the Executive
Producer of Leno’s TV show. She and her husband Jerrold Kushnik (a Hollywood
lawyer) have been members of Temple Emmanuel in Beverly Hills.
Leno’s lawyer? Ron Berg. [CARTER, B., 1994, p. 79, 104-106, 62]
Tough-guy John Wayne started out in Hollywood at Harry Cohn’s Columbia
Studios, moved to Nat Levine’s Mascot Pictures, and then was under contract
to Sidney Rogell and Leon Schlesinger. [ROBERTS/OLSON, 1995, p. 99,
102, 112] Likewise, Gene Autry got his start at Levine’s film company. [TUSKA,
J., 1982, p. 156] Director Orson Welles? “A curious member of Welles’ entourage,”
says Barbara Leaming, “[was] his mentor and surrogate father, Dr. Maurice
’Dadda’ Bernstein.” [LEAMING, B., 1989, p. 92] “Bernstein, ” notes
Charles Higham, Welles’ biographer, “was greedy and unscrupulous; he used,
married, and discarded Mina Elman, sister of the violin virtuoso Mischa Elman,
and later equally misused the Chicago opera star Edith Mason, drawing
her into a ménage à trois with her former husband. Later Dr. Bernstein tried to
milk Welles of every possible cent when Welles achieved fame.” The index in
Higham’s volume lists ten pages under the heading: “Bernstein– money grubbing
antics of.” Bernstein also had an affair with Welles’ mother. [HIGHAM, C.,
1985, p. 6, 350, 38-39] Welle’s first acting role was as a “brutally anti-Semitic,
bullying nobleman” in the Irish play Jew Suss. [HIGHAM, C., 1985, p. 57]
Jackie Gleason’s Jewish circle? His agents were “superagent” Sam Cohn
[HENRY, W., 1992, p. 10, 66] and Herb Siegel [p. 225] Meeting CBS chief Joseph
Cates in 1952, his “agents and managers” included “Herb Rosenthal and
Herb’s assistant Jerry Katz.” The writers for his smash 1950s TV series The Honeymooners
were Marvin Marx (“Gleason’s leading writer for a couple of decades”),Walter
Stone, Leonard Stern, and Sid Zelinka. [p. 169] Coleman Jacoby
was the “creator of most of the characters Gleason played for two decades of
network television.” [p. 10]
Of particular note too was a “tall, fat, big-nosed, craggy-faced, homely
Jewish man called Toots Shor ... [p. 67] For at least a decade and a half, from the
early forties through the late fifties, [Gleason] was to center his life on a ceaseless
effort to tease, amuse, trick, top and otherwise entertain Toots Shor. He
spent more cumulative time with Toots than any of his wives or mistresses.”
[p. 68] As Gleason’s biographer William Henry III notes about Shor:
“No social history of Manhattan would be complete without mention
of Shor, the barkeep-turned-celebrity who was described by The New
Yorker in a November 1950 profile (adulatory at such lenght that it ran in
three installments) as ‘the burly, impudent, hard-working, high-spirited,
sentimental proprieter of the restaurant at 51 West 51st Street that bears
his name’ ... Shor’s was not for the literati, the left-leaning or, naturally,
the ill-to-do. It was not for the cafe of society of tuxedoed gentlemen and
gilded debutantes. Rather, Shor’s was for saloon society, the self-confident
men of attainment in sports and journalism and entertainment, plus their
hangers-on, admirers, and gawkers ... Toot’s was a world of celebrities,
commingling with all sorts of people whose common bond was being fa-
1192