Whitneys in Hollywood
by Andrew Hamilton
THE WHITNEYS are an old American family with roots in colonial New England. By accident I discovered some who were part of the nearly invisible dispersion of blue-bloods in the motion picture colony in Hollywood: first cousins John Hay Whitney and Cornelius Vanderbilt Whitney, and actresses Beatrice Straight, Whitney Blake, and her daughter Meredith Baxter.
The Whitneys constitute an extended Yankee lineage many of whose members have remained successful over nearly 400 years. Perhaps the easiest way to acquaint yourself with the clan is to run your eye over a list of some of its prominent members. The most famous is Eli Whitney, inventor of the cotton gin.
Such families, virtually undiscoverable most of the time, can now and then be detected from subtle clues, especially names, then appearance and occupation. The most striking thing about them is their distinctive genealogies and “old” lineage. Curious about the ones I found, I read a little about them.
Producers John Hay “Jock” Whitney and Cornelius Vanderbilt “Sonny” Whitney
The first three individuals, John Hay Whitney, his first cousin Cornelius Vanderbilt Whitney, and actress Beatrice Straight, belong to a closely related Whitney family subcluster characterized by great wealth and high social status. The founder of that fortune, William Collins Whitney, made his money in New York City street railways, served in Grover Cleveland’s cabinet, then devoted himself to thoroughbred racing and “high society.”
In 1933, during the midst of the Great Depression, the two men co-founded Pioneer Pictures. The business objective was to make color rather than black and white films. Consequently, they bought a 15 percent stake in Technicolor, Inc., a separate company, at the same time.
Pioneer’s 20-minute color short La Cucaracha (1934) won an Academy Award. Becky Sharp (1935) starring Miriam Hopkins became the first full-length three-strip Technicolor feature film, a major historical milestone.
When Jewish producer David O. Selznick (Louis B. Mayer’s son-in-law) set up Selznick International Pictures in 1935, the Whitneys supplied most of the money (about 70 percent). The following year they merged Pioneer Pictures into Selznick International. John Hay Whitney became Selznick International’s Chairman of the Board and Cornelius was also a board member. Jock Whitney ran the New York operation, handling bookings, advertising, foreign distribution, and story acquisition, while Selznick led the Hollywood branch.
Selznick International’s greatest success was Gone with the Wind (1939). It won eight Academy Awards including Best Picture and became the highest-grossing motion picture in history, surpassing D.W. Griffith’s silent masterpiece The Birth of a Nation (1915). A crowd of three hundred thousand participated in three days of festivities at its Atlanta premiere, which included receptions, thousands of Confederate flags, and a costume ball. December 15, 1939 was declared a Georgia state holiday.
Margaret Mitchell’s bestselling novel about the Civil War and Reconstruction South might never have been filmed if Hollywood’s moguls had had their way. Those who rejected the project were Louis B. Mayer and Irving Thalberg of Metro-Goldwyn-Mayer (MGM), Pandro Berman of RKO, Jack L. Warner of Warner Brothers, Darryl Zanuck of 20th Century-Fox — and David O. Selznick of Selznick International. Only Zanuck, the son of a Hungarian immigrant, was not Jewish.
Selznick only changed his mind because his chairman John Hay Whitney and assistant Kay Brown urged him to do the film. Brown, who was listed in the New York Social Register, came from New York high society. Whitney was the movie’s principal investor.
Another Selznick picture Whitney financed was Rebecca (1940), winner of two Academy Awards including Best Picture, which brought director Alfred Hitchcock to America. Two other famous Selznick Technicolor productions, A Star Is Born (1937) and Nothing Sacred (1937), were copyrighted to the Whitneys’ Pioneer Pictures.
For tax reasons Selznick International was liquidated in 1942, with the principals dividing the assets among them. Jock Whitney and his sister Joan Whitney Payson sold the rights to Gone with the Wind to MGM in 1944 for a 460 percent profit. Jock Whitney also sold Becky Sharp, Dancing Pirate, A Star Is Born, and Nothing Sacred.
In the 1950s Cornelius Vanderbilt Whitney established his own venture, C.V. Whitney Pictures, and produced three movies of his own, one of which was the classic John Ford western The Searchers (1956) starring John Wayne.
What were the marital, family, and reproductive patterns of the two men like? A healthy race needs healthy families.
Cornelius Vanderbilt Whitney married four times and had children by each wife — five in all. Only the first two shared a common mother, and she was one-quarter Jewish, so the children were part Jewish, too.
The others were all half-siblings who had different mothers and could scarcely have known one another. Whitney’s first child was born in 1924, the last sometime after 1958. (All of Cornelius’ children divorced — 100 percent out of five children.)
The names of Whitney’s last three wives sound White, but then, so did the name of his first (Marie Norton). Third wife Eleanor Searle seems to have been White, but for thirteen years was the soloist for Temple Israel in New York City.
Cornelius’ last wife was 33-year-old Mary Hosford, an unknown he cast in his film The Missouri Traveler (1958) the same year he married her. It was her sole movie credit. She had four children of her own from a previous marriage, and they had one daughter together, Cornelia Whitney, now a divorced mother with a child living in Ithaca, New York. Hosford inherited $100 million upon Whitney’s death in 1992. Five years later the 72-year-old widow married a 32-year-old tennis champ.
Cousin Jock Whitney married only twice but probably fooled around more. He produced no descendants, but did adopt second wife Betsy Cushing Roosevelt’s two daughters from her previous marriage to James Roosevelt II — Franklin D. Roosevelt’s granddaughters.
Betsy was one of three sisters, daughters of neurosurgeon Harvey Cushing, who all married wealthy men. Sister Barbara married Jewish CBS radio and TV owner William Paley, making Jock Whitney and Paley brothers-in-law.
Jock’s first marriage to Pennsylvania socialite Mary Elizabeth “Liz” Altemus lasted nine years. During that period he had extramarital sex with actresses Tallulah Bankhead (a bisexual who had serious VD as early as 1933), part-White/part-Jewish/part-Negro beauty Joan Bennett, half-Jew Paulette Goddard, and Joan Crawford. During the early 1930s he had an affair with Gore Vidal’s mother while his wife was having sex with Vidal’s father.
Neither John Hay Whitney nor Cornelius Whitney established or maintained stable marriages or families. They had sex with Jews or part-Jews, married them, had children, socialized, and did business with them. Racially there were no barriers.
Actress Beatrice (Whitney) Straight
Beatrice Straight was a stage, film, and TV actress best known for her Tony award-winning role in the Broadway production of Jewish dramatist Arthur Miller’s pro-Communist, anti-White play The Crucible (1953), and playing William Holden’s wronged wife in Network (1976). She won a Best Supporting Actress Oscar for the latter part. Straight played a paranormal investigator in Poltergeist (1982).
Beatrice Whitney Straight was the daughter of former J.P. Morgan banker Willard Straight and his wealthy wife Dorothy Payne Whitney. “Payne” was Dorothy’s mother’s maiden name.
Willard Straight and Dorothy Whitney had three children prior to Willard’s death at 38. Together they started and bankrolled the extremely influential Left-wing magazine The New Republic, which their Communist son Michael later edited.
After Willard’s death Dorothy married Leonard Elmhirst, a member of England’s landed gentry, another Leftist. She moved to England where she and Elmhirst founded a school to indoctrinate children. Willard, Beatrice, and Michael Straight were all “educated” there.
With Elmhirst Dorothy Whitney had two more children, making five altogether—very prolific by today’s standards. Her feminist and sex ideology must have opposed marriage and family and favored all kinds of sex, including homosexuality. Thus her personal behavior did not strictly conform to elite dogma. Still, given the couple’s social backgrounds and ideological convictions the odds are high that Whitney and Elmhirst were sexually promiscuous during marriage and possibly bisexual as well. In the absence of information, that’s the way to bet. Too bad! Such a good-looking woman, too.
The fastest way to grasp Beatrice’s background, including the way the Straight children were raised, is to read Instauration magazine’s cover story about her brother Michael, its choice for Majority Renegade of the Year in 1984. It relies heavily upon Michael’s memoir After Long Silence, which appeared the year before.
Instauration notes: “Anyone who recognizes Jewish names — who more-or-less knows who is Jewish and who isn’t — cannot read Straight’s memoir without being flabbergasted by the extent to which he and his family surrounded themselves with (or were surrounded by) Jews.”
One cannot help but notice, either, that Jews were dominant in the relationship; the Whitneys were not.
The children, who were probably emotionally neglected, felt alienated. Actress Beatrice Straight said, “I may have been born in society, but I was never part of anything but theater.” Her brother Michael, the Communist spy, likened his experience to that of Kyrilo Razumov, the protagonist of Joseph Conrad’s Under Western Eyes (1911), of whom Conrad wrote: “No home influences shaped his opinions or his feelings. He was as lonely in the world as a man swimming in the deep sea.”
Michael Straight worked as a bureaucrat in Franklin Roosevelt’s administration, where he was one of many Soviet spies that honeycombed the Stalinist-friendly federal government.
Michael was not straight. He was bisexual. Nevertheless, he was married for thirty years to the first of his three wives, by whom he had all five of his children.
Michael introduced his sister Beatrice to her first husband, a “French” UN official and Comintern agent named Louis Dolivet — in reality a Romanian named Ludovici Udeanu. Instauration calls Dolivet a “human chameleon,” implying he might have been Jewish or part Jewish, but they could not substantiate it.
Before the couple’s divorce they had a son, Willard Whitney Straight Dolivet. The half-Romanian child died accidentally at age 7.
In 1949 Beatrice married Oregon-born movie and TV actor Peter Cookson, whose father was from England. They had two sons. The marriage lasted until Cookson’s death in 1990.
Thus, Beatrice Whitney Straight had three children, two of whom survived to adulthood.
The actress died in Los Angeles but is buried in New Marlborough, Massachusetts.
Whitney Blake was the first Hollywood Whitney I found — by accident. It was her first name that triggered my curiosity.
Blake starred in the first episode of CBS’s Perry Mason in 1957. She is best known for playing the mother in the TV series Hazel (1961-1966) and co-creating and co-writing with her third husband the hit TV show One Day at a Time (1975-1984), said to be based upon her own experience as a single mother raising her three children, including future actress Meredith Baxter — another Whitney — after her divorce from her first husband. The show was produced by the anti-White Jew Norman Lear.
I first noticed her in the third Mike Hammer feature My Gun Is Quick (1957). It was a low-budget film made by the same producers who made the first movie, I, the Jury (1953). Given how bad I, the Jury was I had low expectations for the second, but it was better. Robert Bray was a better Mike Hammer than Jewish actor Biff Elliot (real name Leon Shalek), and the production and storytelling were superior. Outdoor location shooting the second time around also helped. Whitney Blake played the good-looking, slender, scantily-clad blonde femme fatale.
It turns out that “Whitney Blake” was a stage name. Her real name was Nancy Ann Whitney. She was born in Los Angeles to Harry C. Whitney, a U.S. Secret Service agent who had guarded President Woodrow Wilson and his wife.
Blake was much less famous than the other Whitneys I’ve discussed; no bios or obits mentioned any connection to the Whitney family of New England. Even her actress daughter Meredith Baxter is better known than she is. Whitney Blake’s 2002 death rated only a brief mention in the Los Angeles Times and Variety. The New York Times ignored it.
Importantly, she was not a descendant of the wealthy William Collins Whitney branch of the family.
But by following her patrilineal line of ascent — identifying her father, his father, that man’s father, etc. — I was able to trace a straight line to 17th century Massachusetts. In genealogy this is analogous to a Y chromosome DNA (Y-DNA) test that reveals direct father’s-line ancestry. The Y chromosome, like the patrilineal surname, passes down virtually unchanged from father to son.
In her case:
Whitney Blake (Nancy Ann Whitney), b. Los Angeles, 1926 Henry Clayton Whitney, Jr., b. Texas 1889; Secret Service agent; alcohol related death 1939 Henry Clay Whitney, Sr., b. 1856, Glassboro, New Jersey; druggist Ebon Wharton Whitney, b. Glassboro, New Jersey, 1817 Ebenezer Whitney, b. 1780, Boston, Massachusetts; 6 children Samuel Whitney, b. Marlborough, Massachusetts, 1734; 17 children Benjamin Whitney, b. Stow, Massachusetts, 1687; 14 children Thomas Whitney, Jr., b. Watertown, Massachusetts Bay Colony, 1655; farmer, served in King Philip’s War; 8 children Thomas Whitney, Sr., b. 1627, London, Isleworth Parish on Thames, England; 11 children John Whitney, Sr., b. 1592, St. Margaret’s, Westminster, Middlesex, England; member of Merchant Taylor’s (Tailor’s) Company, apprentice, later full member; emigrated to New England on the Elizabeth and Ann in 1635, admitted as freeman 3/3/1636; d. 1673, Watertown, Massachusetts in colonial America; 18 children.
It is intriguing that although Y-DNA represents less than 1 percent of total DNA it is nevertheless significant. Unlike most DNA, it does not recombine (it is definable and constant).1 In patriarchal Aryan societies, long before knowledge of DNA existed, farms and deeds were customarily passed down over hundreds of years from father to oldest son. The father’s surname passed to the children as well—to girls until they married. And paternal descent was reckoned as important.
Of course, as a female Whitney Blake did not inherit any Whitney Y-DNA (only males do). But the persistence of the surname enabled confirmation of her Whitney ancestry.
This, in essence, is what race is about: Like engendering Like. A vast family tree extending into the past and continuing forward into the future.
In Blake’s family tree note especially the exceptionally large families, generation after generation the farther back in time you go, despite childbirth being so much riskier then. That represents demographic expansion as opposed to today’s demographic collapse. When you read American history or biography or do your own genealogy, look for this pattern. You will see it again and again and again.
Blake named her firstborn son Richard Whitney Baxter, using her family’s distinguished surname as his middle name. Did she know her deep family history? Or are repetitive naming techniques like this somehow instinctive among members of her ethnos? Another son, Brian Baxter, co-owned a bookstore in Minnesota with his mother.
The actress died in 2002 in Edgartown, Massachusetts on the island of Martha’s Vineyard. She was survived by three children, nine grandchildren, and two great-grandchildren. Donations in her memory were invited to be made to Planned Parenthood!
Blake’s children were accidentally White, because she had them during her first marriage to radio announcer Tom Baxter (duration: 11 years). She spent most of her married life with two Jews: talent agent Jack Fields (10 years) and TV writer Allan Manings (34 years, until her death). So things could easily have gone the other way.
There is a pronounced pattern of young White Hollywood actresses and New York City TV presenters marrying Jews and having Jewish children, which occurs in about 80 percent of cases I would estimate. This excludes extramarital sex with exploitative Jews like Harvey Weinstein that such women engage in to advance their careers.
Such behavior has been endemic in Hollywood and broadcasting since the industries’ earliest days. Pushy Jews demand and obtain sex in exchange for an often illusory but sometimes real offer, explicit or implicit, to pluck beautiful, talented, ambitious young women from humdrum lives as wives and mothers in the heartland, and shower them with glamor, money, fame, and success. Resulting tragedies massively outnumber Cinderella stories, but the countless wrecked lives — and deaths — remain invisible, concealed from public view.
Whitney Blake’s greatest Hollywood success — her participation in One Day at a Time — was due to her third marriage to Alan Manings. Manings was a hardcore Leftist, probably a Communist during the 1940s and 1950s, who used the power of television to spread his toxic views among the population.
Whitney Blake’s daughter Meredith Baxter is best known for her starring roles in the TV series Bridget Loves Bernie (1972-1973), the prime time soap opera Family (1976-1980), and Family Ties (1982-1989), in which Baxter and Jewish actor David Gross played hippie Leftist parents with a conservative son. It was said to be President Ronald Reagan’s favorite TV show.
Baxter has five children from her first two marriages, and none from her third.
In the late 1960s she was married for three years to a man named Robert Lewis Bush, with whom she had two children. Interestingly, she used the family surname for her daughter’s middle name: Eva Whitney Bush. Again: knowledge or instinct?
Baxter’s earliest starring role was in TV’s Bridget Loves Bernie which lasted one season. The show was a comedy about an interracial marriage (Jewish man-White shiksa). Despite its popularity it was cancelled due to intense pressure from Orthodox Jews and threats of violence by Jewish domestic terrorists. Unlike Whites, Jews get what they want.
Actor David Birney played Bernie Steinberg, Baxter’s love interest. After the completion of the show the actors married and remained so during Baxter’s entire run on Family Ties. During this period she was known professionally as Meredith Baxter Birney. Years later Baxter claimed on TV that Birney abused her before and during their marriage (her longest), though he denied it.
Based upon his real-life surname, father’s occupation, and mother’s maiden name, I would surmise he’s Gentile. Metacritic.com, owned by CBS, says he is Irish, Scots, German, and Cherokee Indian. He is swarthy. (He’s the short actor in this 2-minute clip.) Depending on the degree of Indian or other non-White admixture, Baxter’s three children by Birney may or may not be White.
Her third husband was Minneapolis-born actor, screenwriter, and novelist Michael Blodgett. They divorced after five years.
Finally, in the early 2000s, after three marriages and five children, Baxter decided she was a lesbian. In 2013 she “married” her current squeeze Nancy Locke, causing fulsome gushing in the press.
Had such conduct been institutionalized when she was young, as it is now, Baxter might never have married and had children. Many, many young Whites during (and prior to) their fertile years are now being compulsorily twisted in this manner, forcibly altering the course of human events. Such putridity must be stopped.
It would be nice if families like the Whitneys could stay straight, stay White, stay married, reproduce, and feel genuine love and affection for their children. Having large families like their ancestors wouldn’t hurt either — if they could marry their own kind.
Politics among the Whitneys and families like them trends fashionably (and beneficially, for themselves) Left: from Communism to Green to Democrat to Republican In Name Only. Their Leftism proves that they possess a marked capacity for radicalism and violence. The big question is: can the polarity of that disposition be reversed and directed away from destruction and degeneracy into noble endeavors equally revolutionary and ferocious, but spiritually uplifting and morally right?
1 “The Y-chromosome is inherited more or less unchanged from father to son to grandson, indefinitely. Chromosomes contain the DNA that determines our inherited characteristics, and the Y-chromosome is one of the 46-chromosomes in the nucleus of each of the cells of all human males. Most chromosomes, including the two X-chromosomes possessed by females, get recombined or shuffled each generation before being passed down to offspring. But the Y-chromosome is unique in remaining more or less unchanged when passed from father to son. Thus while most chromosomes will contain a random mixture of genetic codes from one’s grandparents and great-grandparents, a male’s Y-chromosome will be identical or nearly identical to that of his father, grandfather, great-grandfather and beyond for countless generations. Surnames tend to be inherited in the same manner as Y-chromosomes.” “The Y-Chromosome and Genetic Genealogy”
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