the role of a bashful tycoon who was embarrassed in public" and knew that he was doing so. Disney acknowledged the façade and told a friend that "I'm not Walt Disney. I do a lot of things Walt Disney would not do. Walt Disney does not smoke. I smoke. Walt Disney does not drink. I drink." Critic Otis Ferguson, in The New Republic, called the private Disney: "common and everyday, not inaccessible, not in a foreign language, not suppressed or sponsored or anything. Just Disney." Many of those with whom Disney worked commented that he gave his staff little encouragement due to his exceptionally high expectations. Norman recalls that when Disney said "That'll work", it was an indication of high praise. Instead of direct approval, Disney gave high-performing staff financial bonuses, or recommended certain individuals to others, expecting that his praise would be passed on. Reputation Views of Disney and his work have changed over the decades, and there have been polarized opinions. Mark Langer, in the American Dictionary of National Biography, writes that "Earlier evaluations of Disney hailed him as a patriot, folk artist, and popularizer of culture. More recently, Disney has been regarded as a paradigm of American imperialism and intolerance, as well as a debaser of culture." Steven Watts wrote that some denounce Disney "as a cynical manipulator of cultural and commercial formulas", while PBS records that critics have censured his work because of its "smooth façade of sentimentality and stubborn optimism, its feel-good re-write of American history". Disney has been accused of anti-Semitism for having given Nazi propagandist Leni Riefenstahl a tour of his studio a month after , something he disavowed three months later claiming he was unaware who she was when he was issued the invitation. None of Disney's employees—including the animator Art Babbitt, who disliked Disney intensely—ever accused him of making anti-Semitic slurs or taunts. The Walt Disney Family Museum acknowledges that ethnic stereotypes common to films of the 1930s were included in some early cartoons but also points out that Disney donated regularly to Jewish charities, was named "1955 Man of the Year" by the B'nai B'rith chapter in Beverly Hills, and his studio employed a number of Jews, some of whom were in influential positions. Gabler, the first writer to gain unrestricted access to the Disney archives, concludes that the available evidence does not support accusations of anti-Semitism and that Disney