The Tenth Protocol --
"To wear everyone out by dissensions,
animosities, feuds, famine, inoculation of diseases, want,
until the Gentiles see no other way of escape except an appeal
to our money and power."
Chapter 10.
JEWISH SUPREMACY IN THE
THEATRE AND CINEMA
The Theater has long been a part of the Jewish
program for the guidance of public taste and the influencing
of the public mind. Not only is the theater given a special
place in the program of the Protocols, but it is the instant
ally night by night and week by week of any idea which the "power
behind the scenes" wishes to put forth. It is not by accident
that in Russia, where they now have scarcely anything else,
they still have the Theater, specially revived, stimulated and
supported by Jewish-Bolshevists because they believe in the
Theater just as they believe in the Press; it is one of the
two great means of molding popular opinion.
Not only the "legitimate" stage, so-called, but
the motion picture industry -- the fifth greatest of all industries
-- is also entirely Jew-controlled; with the natural sequence
that the civilized world is increasingly antagonistic to the
trivializing and demoralizing influence of that form of entertainment
as at present managed.
As soon as the Jew gained control of American liquor,
we had a liquor problem with drastic consequences. As soon as
the Jew gained control of the "movies" we had a movie problem,
the consequences of which are visible.
It is the peculiar genius of that race to create
problems of a moral character in whatever business they achieve
a majority."*
Every night hundreds of thousands of people give
from two to three hours to the Theater, every day literally
millions of people give up from 30 minutes to 8 hours to the
"Movies"; and this simply means that millions of Americans every
day place themselves voluntarily within range of Jewish ideas
of life, love and labor; within close range of Jewish propaganda,
sometimes cleverly, sometimes clumsily concealed. This gives
the Jewish masseur of the public mind all the opportunity he
desires; and his only protest now is that exposure may make
his game a trifle difficult.
The Theater is not only Jewish on its managerial
side, but also on its literary and professional side. More and
more plays are appearing whose author, producer, star and cast
are entirely Jewish (vaudeville-music hall-performers are predominantly
Jewish). They are not great plays, they do not last long. This
is natural enough, since the Jewish theatrical interests are
not seeking artistic triumphs, they are not seeking the glory
of the American stage, nor are they striving to develop great
actors. Their interest is solely financial and racial. There
is a tremendous Judaizing movement on. The work is almost complete.
The American feel has gone out of the Theater; a dark,
Oriental atmosphere has come instead.
EDITOR'S NOTE: *Writing in the London "Jewish Chronicle,"
August 6 1948, a Jewish correspondent (Americanus) admits "Most
of the persons who have cudgelled their wits over the problem,
have neglected one of the most obvious impacts on American life
Jews have made, in the mass entertainment media -- radio, films,
the stage, night clubs. One might almost say that American culture
as a whole has taken on certain Jewish overtones. Then there
is Television!
Down to 1885 the American Theater was still
in the hands of the Gentiles; from that year dates the first
invasion of Jewish influence. This date almost coincides with
the beginning of the organization and co-ordination of the Jewish
world scheme for domination called Zionism, and this year marks
not only the beginning of the Jewish wedge of control, but something
far more important.
It is not important that theater and music hall
managers are now Jews whereas they were formerly Gentiles. The
importance begins with the fact that with the change of managers
there came also a decline in the art and morals of the stage,
and that this decline became accelerated as the Jewish control
became widespread. Jewish control means that everything has
been deliberately and systematically squeezed out of the American
Theater except its most undesirable elements, and these undesirable
elements have been exalted to the highest place of all. The
Great Age of the American Theater is past, the Great Actors
have passed, and they have left no successors. A Hebrew hand
fell on the stage, and the natural genius of the stage was not
welcome. A new form of worship was to be established.
"Shakespeare spells ruin," was the utterance of
a Jewish manager. "High-brow stuff" (meaning anything not salacious)
is also a Jewish expression. These two sayings, one appealing
to the managerial end, the other to the public end of the Theater,
have formed the epitaph of the classic era.
The present-day average intelligence appealed to
in the Theater does not rise above 13 to 18 years. "The tired
business man" stuff (another Jewish expression) has treated
the theater-going public as if it were composed of morons. The
appeal is frankly to a juvenile type of mind which can easily
be molded to the ideas of the Hebraic theatrical monopoly.
Clean, wholesome, constructive plays -- the few
that remain -- are supported mainly by the rapidly vanishing
race of theatergoers who survive from an earlier day, and lay
those younger people whose minds have been shielded by these
survivors from the contamination of the Jewish theater.
The great majority of the present generation has
been educated to support plays of an entirely different type.
Tragedy is taboo; the play of character, with a deeper significance
than would delight the mind of a child, is out of favor; the
comic opera has degenerated into a flash of color and movement
-- a combination of salacious farce and jazz music, supplied
by a Jewish songwriter (the great purveyors of jazz) and the
rage is for extravaganza and burlesque. The bedroom farce has
been exalted into the first place, the historical drama has
given way to fleshly spectacles set off with overpowering scenic
effects, the principal component of which is an army of girls
whose drapery does not exceed five ounces in weight.
Frivolity, sensuality, indecency, appalling illiteracy
and endless platitude are the marks of the degenerate American
Theater under Jewish control.
That, of course, is the real meaning of all the
"Little Theater" movements which have begun in so many cities
and towns in the United States. The art of the drama, having
been driven out of the theater by the Jews, is finding a home
in thousands of study circles throughout the country. The people
cannot see real plays; therefore, they read them. The plays
that are acted could not be read at all, for the most part,
any more than the words of the jazz songs can be read; they
don't glean anything. The people who want to see real plays
and cannot, because Jewish managers won't produce them, are
forming little dramatic clubs of their own, in barns and churches
and schools. The drama fled from exploiters and has found a
home with its friends.
MECHANICS AND FAKE "STARS"
The major changes which the Jews have made in
the theater are four in number. First, they have elaborated
the mechanical side, making human talent and genius less necessary.
They have made the stage "realistic" instead of interpretative.
Great actors needed very little machinery; the men and women
on the pay rolls of the Jewish managers are helpless without
machinery. The outstanding fact about the vast majority of present
day performances of any pretension is that the mechanical part
dwarfs and obscures the acting: and this is the reason -- knowing
that the Jewish policy is death to talent, the Jewish producer
prefers to put his faith and his money in wood, canvas, paint,
cloth and tinsel. Wood and paint never show contempt for his
sordid ideals and his betrayal of his trust. Thus we have in
the theater today dazzling effects of light and motion -- but
no ideas. A great many stage employees, but no actors, drills
and dances without end, but no drama. The Jew has put in the
glitter but he has taken out the profounder ideas. Second, the
Jews have introduced Oriental sensuality to the stage. The mark
of the filthy tide has risen until it has engulfed the whole
theater. In New York, where Jewish managers are thicker than
they ever will be in Jerusalem, the limit of theatrical adventures
into the realm of the forbidden is being pushed further and
further. The sale of narcotics is illegal, but the instilling
of moral poison is not. The whole atmosphere of "cabaret" and
"midnight frolic" entertainment is of Jewish origin and importation.
Montmarte has nothing at all in the nature of lascivious entertainment
that New York cannot duplicate. But, neither New York nor any
other American city has that Comedie Francaise which
strives to counterbalance the evil of cosmopolitan Paris. Where
have the writers for the Stage a single chance in this welter
of sensuousness? Where have the actors of tragic or comic talent
a chance in such productions? It is the age of the chorus
girl, a voluptuous creature whose mental caliber has nothing
to do with the concern of drama, and whose stage life cannot
in the very nature of things be a career.
A third consequence of Jewish domination of the
American stage has been the appearance of the "Star" system,
with its advertising appliances. The Theater is swamped in numerous
"stars" that never really rose and certainly never shone, but
which were hoisted high on the advertising walls of the Jewish
theatrical syndicates in order to give the public the impression
that these feeble lanternlights were in the highest heaven of
dramatic achievement. The trick is a department store trick.
It is sheer advertising strategy. Whereas in normal times a
discriminating public made the "star" by their acclaim, nowadays
the Jewish managers determine by their advertisements who the
star shall be.
The Jew seeks immediate success in all but racial
affairs. In the breakdown of the Gentile theater, success cannot
be too swift for him. The training of artists takes time. It
is far simpler to have the advertisement bills, the venal critics
of the Press, serve as a substitute. The Jewish manager of the
day diverts attention from the dramatic poverty of the theater
by throwing confetti, limbs, lingerie and spangles dazzingly
into the eyes of his audience.
RISE OF THE JEWISH THEATRICAL
TRUST
These three disastrous results of Jewish control
of the Theater are all explained by a fourth; the secret of
the change is found in the Jewish passion to commercialize everything
it touches. The focus of attention has been shifted from the
Stage to the box office. The banal policy of "give the public
what they want" is the policy of the panderer and not that of
creative genius. It entered the theater with the first Jewish
invasion in 1885, when two alert Jews established in New York
a so-called booking-agency and offered to take over the somewhat
cumbersome system by which managers of theaters in the big but
distant towns in the country arranged engagements for the ensuing
season. The old process involved extensive correspondence with
producing managers in the East and many local managers were
obliged to spend several months in New York to make up a season's
bookings. The advantage of a central booking concern relieved
local managers of much time, labor and thought, all details
were handled for him and his next season's bookings were arranged
for him. In this manner was laid the foundation of the later
day Theatrical Trust. The booking firm which gave birth to the
iron control of the theater was that of Klaw & Erlanger.
This is the key to the whole problem of the decline of the American
stage. The rise of the Theatrical Trust completed the destruction
of the personal touch in their relationship between manager
and company. The old "personal" system made possible the development
of genius in accordance with the organic laws which determine
its nurture, growth and fruition.
The fact of Jewish control of the theater is not
itself a ground for complaint. If certain Jews, working separately
or in groups, have succeeded in wrenching this rich business
from its former Gentile control, that is purely a matter of
commercial interest. It is precisely on the same footing as
if one group of Gentiles had won the control from another group
of Gentiles. In this, as in other business matters, however,
there is the ethical test of how the control was gained and
how if is used. Society is usually willing to receive the fact
of control with equanimity, providing the control is not used
for anti-social purposes.
The fact that the old-time Gentile producing managers usually
died poor while Jewish producing managers went immensely rich
would indicate that the Gentile managers were better artists
and poorer business men than the Jewish managers. At least poorer
business men, perhaps; and in any case working on a system whose
chief object was to produce plays not merely profits.
The advent of Jewish control put the theater on
a more commercialized basis than it had previously known. It
really represented applying the Trust Idea of the theatre before
it had been largely applied to industry.
The early control of theaters in strategic cities,
the block booking agencies for artists and productions, and
the running out of business of the independent theaters and
stock companies by excessive charges for plays that had already
been used in the regular theaters of the Trust, really served
Jewish interests in another way. The motion picture industry
was coming to the front. It was a Jewish enterprise from the
first. There was never any need to drive the Gentiles out of
that, because the Gentiles never had a chance to get in. Thus
the driving out of the independent theater manager and the stock
companies threw the empty theaters over to the "movies" and
the benefit was again confined to a racial group.
The Theatrical Trust, which began as Jewish, was
at the beginning of the twentieth century in full control of
the field. It reduced what was essentially an art to a timeclock,
cashregister system, working with the precision of a well-controlled
factory. It suppressed individuality, initiative, killed off
competition, drove out the independent manager and the natural
genius, excluded all but foreign playwrights of established
reputations, fostered the popularity of inferior talent which
was predominantly Jewish, foisted countless "stars" of mushroom
growth upon a helpless public while driving real artists into
obscurity; it handled plays, theaters and actors, like factory
products and began a process of vulgarizing and commercializing
everything connected with the theater.
CRITICS "CONTROLLED"
It is quite possible that many who read this are not
interested in the theater, and are, in fact, convinced that the
theater and cinema are a menace. But, what principally makes these
things a menace? This -- that the stage and cinema today represent
the principal cultural element of 90 per cent of the people. What
the average young person absorbs as to good form, proper deportment,
refinement as contrasted with coarseness, correctness of speech
or choice of words, customs and feelings of other nations, fashion
of clothes, ideas of religion and law, are derived from what is
seen at the cinema and theater. The masses' sole idea of home
and life of the rich is derived from the stage and the movies.
More wrong notions are given, more prejudices created
by the Jewish controlled theater-cinema in one week than can be
charged against a serious study of the Jewish Question in a century.
People sometimes wonder where the ideas of the younger generation
come from -- this is the answer.
The Jewish control of the public mind was not gained
without opposition, but one by one the defenders of the American
tradition were beaten or surrendered to overwhelming influences.
The Jewish Theatrical Trust was attacked by the Editor of the
New York "Dramatic Mirror" as far back as December
25, 1897. He was the famous dramatic critic Harrison Grey Fiske.
He wrote:
"What then should be expected of a band of
adventurers of infamous origin, of no breeding and utterly
without artistic taste? Let it be kept in mind that the ruling
number of these men who compose the Theatrical Trust are absolutely
unfit to serve in any but the most subordinate places in the
economy of the stage, and that they ought not to be tolerated
even in these places except under a discipline, active, vigorous
and uncompromising. Their records are disreputable and in
some cases criminal, and their methods are in keeping with
their records."
Fiske's article was reprinted in March, 1898.
The Jews, of course, acted as one man as is always the case
when one Jew is censured for wrong doing or when one group of
Jews are exposed for malpractices. All the Jews in the United
States came to the rescue of the Theatrical Trust. Pressure
was brought to bear on news companies which handled the circulation
of magazines in the United States. Leading hotels were induced
to withdraw the "Dramatic Mirror" from their news stands. "Mirror"
correspondents were refused admittance to theaters controlled
by the Trust. Any number of underground influences were set
in operation to "get" Fiske and his business.*
EDITOR'S NOTE: *These counter-measures of over 50 years
ago in America are readily recognized by alert observers of
the present day, when any form of criticism of a Jew or group
of Jews is expressed; if anything the weapons used to silence
critics are more powerful, because Jewry has become more powerful.
Libel suits were brought against Fiske for gigantic
damages for the strictures he had printed upon the personal
characters of members of the Trust. For once the Trust members
came off badly. They were revealed to be a much lower type of
men than the American public had supposed was in charge of the
American theater.
The fight of the dramatic critics, first against
the bribery and then against the bludgeoning of the Theatrical
Trust makes a story of which echoes have frequently come to
the public through the Press. Conciliatory at first, with managers,
actors, playwrights and critics, the Trust, as soon as it gained
power, showed its claws beneath the velvet. It had millions
of dollars of the public coming its way, why should it care?
Whenever a critic opposed its methods or pointed out the inferior,
coarse and degrading character of the Trust productions, he
was barred from the Trust's theaters, and local managers were
instructed to demand his discharge from his newspaper. In almost
every case the demand was complied with, the papers being threatened
with the loss of advertising. In all the years since, the Trust
has hounded and black-listed critics who tell the truth and
have prevented their employment by newspaper.*
The rage of the day is not plays but playhouses.
The theatrical business entered upon its real estate phase with
the coming of the Trust. There is money in renting chairs at
the rate of 1 to 3 dollars an hour. The renting of chairs is
a reality. The Stage has become an illusion, since it came under
the influence and control of a group of former bootblacks, newsboys,
ticket speculators, prize ring habitues, and Bowery characters.
EDITOR'S NOTE: *Since the original "Dearborn Independent"
articles were published the critics and columnists of the American
Press have become predominantly Jewish, or Jewish controlled.
The public does not see and does not know these
gods before whom they pour their millions yearly, nor does the
public know from what Source theatrical vileness comes. It is
painful to listen to fledgling philosophers discuss the "tendencies
of the stage," or expiate learnedly on the "divine right of
Art," to be as flippant and filthy as it pleases, when all the
time the "tendency" and "art" is determined by men whose antecedents
would make Art scream.
The Theatrical Trust does not exist in the form
it did ten years ago; it grew arrogant and bred secret enemies
among its own people. A new force arose, but it was also Jewish.
Instead of one, the American people now have a dual dictatorship
of the stage.
It is perfectly natural that the complete Judaization
of the theater should result in its being transformed into the
"show business," a mere matter of trade and barter. The producers
are often not equipped culturally for anything more than the
baldest business. They can hire what they want, mechanics, costumers,
painters, writers, musicians. With their gauge of public taste
and their models of action formed upon the race track and the
prize ring; with their whole ideal modeled upon the ambition
to pander to depravity, instead of serving legitimate needs,
it is not surprising that the standards of the Theater should
now be at their lowest mark.
The Jewish manager whenever possible employs Jewish
actors and actresses. Gentile playwrights and actors are steadily
diminishing in number for want of a market. The "cover name"
conceals from the public that the actors and actresses who purvey
"entertainment" are, in large and growing proportion, Jewish.
THE ALL-JEWISH "MOVIES"
Jews did not invent the art of motion picture
photography; they have contributed next to nothing to its mechanical
or technical improvement; they have not produced any of the
great artists, either writers or actors, which have furnished
the screen with its genuine material. Motion photography, like
most other useful things in the world, is of non-Jewish origin.
But by the singular destiny which has made the Jews the greatest
cream-skimmers of the world, the benefit of it has not gone
to the originators, but to the usurpers, the exploiters.
When millions of people crowd through the doors
of the movie houses at all hours of the day and night, literally
an unending line of human beings in every habitable corner of
the land, it is worth knowing who draws them there, who acts
on their minds while they quiescently wait in the darkened theater,
and who really controls the massive bulk of human force and
ideas generated and directed by the suggestions of the screen.
Who stands at the apex of this mountain of control?
It is stated in the sentence: The motion picture influence of
the United States, of the whole world, is exclusively under
the control, moral and financial, of the Jewish manipulators
of the public mind.
The moral side of the movies' influence is now a
world problem. Everybody who has an active moral sense is convinced
as to what is being done and as to what ought to be done. It
is a business that frankly brutalizes taste and demoralizes
morals and should not be permitted to be a law unto itself.
But the propaganda side of the movies does not so directly declare
itself to the public. That the movies are recognized as a tremendous
propagandist institution is proved by the eagerness of all sorts
of causes to enlist them. There is ample evidence that the Jewish
promoters have not overlooked that end of it. This propaganda
as at present observed may be described under the following
heads: It consists in silence about the Jew as an ordinary being.
Jews are not shown upon the stage and screen except in unusually
favorable situations. This ill-concealed propaganda of the Jewish
movie picture control is also directed against non-Jewish religions.
A Jewish rabbi is never depicted on the screen in any but the
most honorable attitude. He is clothed with all the dignity
of his office and he is made as impressive as can be. Christian
clergymen, as any movie "fan" will readily recall, are often
subjected to all sorts of misrepresentation, from the comic
to the criminal. This attitude is distinctly Jewish. Like many
unlabeled influences in our life, whose sources lead back to
Jewish groups, the object is to break down as far as possible
all respectful or considerate thought about the clergy.
The Catholic clergy very soon made themselves felt
in opposition to this abuse of their priestly dignity, and as
a result of their vigorous resentment the Jew climbed down.
You now never see a priest made light of on the screen. But
the Protestant clergyman is still the elongated, snivelling,
bilious hypocrite of anti-Christian caricatures. He is made
to justify his deeds by appeals to "broad" principles -- which
really kills two birds with one stone; it degrades the representative
of religion in the eyes of the audience, and at the same time
it insidiously inoculates the audience with the same dangerous
ideas. A Hebrew may not be depicted on the screen as the owner
of a sweat shop -- though all sweat shop owners are Jews; but
you may make a Christian clergyman anything from a seducer to
a safe-cracker -- and get away with it. Remembering what is
written in the Protocols, a question arises. It is written:
"We have misled, stupefied and demoralized
the youth of the Gentiles by means of education in principles
and theories, patently false to us, but which we have inspired."
-- Protocol 9.
"We have taken good care long ago to discredit
the Gentile clergy."
-- Protocol 17.
"It is for this reason that we must undermine
faith, eradicate from the minds of the Gentiles the very
principles of God and Soul, and replace these conceptions
by mathematical calculations and material desires."
-- Protocol 4.
Two possible views are open to choice: one,
that this caricature of representatives of religion is simply
that natural expression of a worldly state of mind; the other,
that it is part of a traditional campaign of subversion. The
former is the natural view among uninformed people. It would
be the preferable view, if peace of mind were the object sought.
But there are far too many indications that the second view
is justified, to permit of its being cast aside.
The screen, whether consciously or just carelessly,
is serving as a rehearsal stage for scenes of anti-social menace.
There are no uprisings of revolutions except those that are
planned and rehearsed. Revolutions are not spontaneous uprisings,
but carefully planned minority actions. There have been few
popular revolutions. Civilization and liberty have always been
set back by those revolutions which subversive elements have
succeeded in starting. Successful revolution must have a rehearsal.
It can be done better in the motion pictures than anywhere else:
this is the "visual education" such as even the lowest brow
can understand. Indeed, there is a distinct disadvantage in
being "high-brow" in such matters. Normal people shake their
heads and pucker their brows and wring their hands, saying,
"We cannot understand it." Of course, they cannot. But if they
understood the low-brow, they would understand it, and very
clearly. There are two families in this world, and on one the
darkness dwells.
Reformers, of course, heartily agree with this as
far as criminal portrayals are concerned. Police protest against
the technique of killing a policeman being shown with careful
detail on the screen. Business men object to daily lessons in
safe-cracking being given in the pictures. Moralists object
to the art of seduction being made the stock motif no matter
what the subject. They object because they recognize it as evil
schooling which bears bitter fruits in society. This kind of
"visual education" is going on; there is now nothing connected
with violent outbreaks which has not been put into the minds
of millions by the agency of the motion pictures. It may be,
of course, a mere coincidence. But coincidences are also realities.
There are other developments in screendom which
are worthy of mention. One is the increasing use of non-Jewish
authors to produce Jewish propaganda. Popular non-Jewish authors'
books have been screened by Jewish producers and they are more
effective as such propaganda because they are backed by non-Jewish
names famous in the literary world. How much of it is due to
the authors' desire to enter the field of pro-Semitic propaganda,
and how much of it is due to their* reluctance to refuse amiable
suggestions from movie magnates who have already paid them liberal
sums and are likely to pay them more, is another question.
With the "movie bug" so rampant in the country,
it is next to impossible to supply enough good pictures for
the stimulated and artificial demand. Some people's appetite
calls for two or more pictures a day. Shallow pated women see
them in the afternoon and several more at night. With all the
brains and skill of the country engaged on the task it would
be impossible to supply a fresh drama or comedy of quality,
hot out of the studios every hour, like bread. Where the Jewish
controllers have overstepped themselves is here: they have over-stimulated
a demand which they are not able to supply, except with such
material as is bound to destroy the demand. Nothing is more
dangerous to the social value of the motion picture business
than an exaggerated appetite for them, and this appetite is
whetted and encouraged until it becomes a mania.
EDITOR'S NOTE: *This has been amply proved in the use made of
the cinema to foment the 1939 war, and to intensify the hatreds
and spread the malicious lies that grew out of that war.
EDITOR'S NOTE: These views on Jewish influence in the United States
were, of course, published before the remarkable development of
television, and radio. While that mighty influence is not mentioned
in these pages concerning Jewish activities in the United States,
it should be added that Jewish control, from the manufacturing
to the performing end, is as effective as in other American businesses.
Radio-television, as a force in the world-program outlined in
this series of articles, probably now takes the first place in
the Jewish scheme of things.
