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United States came to the rescue of the Theatrical Trust columnists of the American Press have become
Pressure was brought to bear on news companies which predominantly Jewish, or Jewish controlled.
handled the circulation of magazines in the United
States. Leading hotels were induced to withdraw the The public does not see and does not know these gods
"Dramatic Mirror" from their news stands. before whom they pour their millions yearly, nor does
"Mirror" correspondents were refused admittance to the public know from what Source theatrical vileness
theaters controlled by the Trust. Any number of come8. It is painful to listen to fledgling philosophers
underground influences were set in operation to "get" discuss the "tendencies of the stage," or expiate
Fiske and his business. learnedly on the "divine right of Art," to be as flippant
and filthy as it pleases, when all the time the
EDITOR'S NOTE: These counter-measures of over 50 "tendency" and "art" is determined by men whose
years ago in America are readily recognized by alert antecedents would make Art scream.
observers of the present day, when any form of criticism
of a Jew or group of Jews is expressed; if anything the The Theatrical Trust does not exist in the form it did ten
weapons used to silence critics are more powerful, years ago; it grew arrogant and bred secret enemies
because Jewry has become more powerful. among its own people. A new force arose, but it was also
Jewish. Instead of one, the American people now have a
Libel suits were brought against Fiske for gigantic dual dictatorship of the stage.
damages for the strictures he had printed upon the
personal characters of members of the Trust. For once It is perfectly natural that the complete Judaization of the
the Trust members came off badly. They were revealed theater should result in its being transformed
to be a much lower type of men than the American into the "show business," a mere matter of trade and
public had supposed was in charge of the American barter. The producers are often not equipped culturally
theater. for anything more than the baldest business. They can
hire what they want, mechanics, costumers, painters,
The fight of the dramatic critics, first against the bribery writers, musicians. With their gauge of public taste and
and then against the bludgeoning of the their models of action formed upon the race track and
Theatrical Trust makes a story of which echoes have the prize ring; with their whole ideal modeled upon the
frequently come to the public through the Press. ambition to pander to depravity, instead of serving
Conciliatory at first, with managers, actors, playwrights legitimate needs, it is not surprising that the standards of
and critics, the Trust, as soon as it the Theater should now be at their lowest mark.
gained power, showed its claws beneath the velvet. It
had millions of dollars of the public coming its The Jewish manager whenever possible employs Jewish
way, why should it care? Whenever a critic opposed its actors and actresses. Gentile playwrights
methods or pointed out the inferior, coarse and and actors are steadily diminishing in number for want
degrading character of the Trust productions, he was of a market. The "cover name" conceals from
barred from the Trust's theaters, and local managers the public that the actors and actresses who purvey
were instructed to demand his discharge from his "entertainment" are, in large and growing
newspaper. In almost every case the demand was proportion, Jewish.
complied with, the papers being threatened with the loss
THE ALL-JEWISH "MOVIES"
of advertising. In all the years since, the Trust has
Jews did not invent the art of motion picture
hounded and black-listed critics who tell the truth and
photography; they have contributed next to nothing to
have prevented their employment by newspaper.
its mechanical or technical improvement; they have not
produced any of the great artists, either writers or actors,
The rage of the day is not plays but playhouses. The
which have furnished the screen with its genuine
theatrical business entered upon its real estate phase with
material. Motion photography, like most other useful
the coming of the Trust. There is money in renting chairs
things in the world, is of non-Jewish origin. But by the
at the rate of 1 to 3 dollars an hour. The renting of chairs
singular destiny which has made the Jews the greatest
is a reality. The Stage has become an illusion, since it
cream-skimmers of the world, the benefit of it has not
came under the influence and control of a group of
41
gone to the originators, but to the usurpers, the "broad" principles - which really kills two birds with
exploiters. one stone; it degrades the representative of religion in
the eyes of the audience, and at the same time it
When millions of people crowd through the doors of the insidiously inoculates the audience with the same
movie houses at all hours of the day and night, literally dangerous ideas. A Hebrew may not be depicted on the
an unending line of human beings in every habitable screen as the owner of a sweat shop - though all sweat
corner of the land, it is worth knowing who draws them shop owners are Jews; but you may make a Christian
there, who acts on their minds while they quiescently clergyman anything from a seducer to a safe-cracker -
wait in the darkened theater, and who really controls the and get away with it. Remembering what is written in
massive bulk of human force and ideas generated and the Protocols, a question arises. It is written:
directed by the suggestions of the screen.
"We have misled, stupefied and demoralized the
Who stands at the apex of this mountain of control? It is youth of the Gentiles by means of education in
stated in the sentence: The motion picture influence of principles and theories, patently false to us, but
the United States, of the whole world, is exclusively which we have inspired."- Protocol 9.
under the control, moral and financial, of the Jewish
manipulators of the public mind. "We have taken good care long ago to discredit the
Gentile clergy."- Protocol 17.
The moral side of the movies' influence is now a world
problem. Everybody who has an active moral sense is "It is for this reason that we must undermine faith,
convinced as to what is being done and as to what ought eradicate from the minds of the Gentiles the very
to be done. It is a business that frankly brutalizes taste principles of God and Soul, and replace these
and demoralizes morals and should not be permitted to conceptions by mathematical calculations and
be a law unto itself. material desires."- Protocol 4.
But the propaganda side of the movies does not so
directly declare itself to the public. That the Two possible views are open to choice: one, that this
movies are recognized as a tremendous propagandist caricature of representatives of religion is simply that
institution is proved by the eagerness of all sorts of natural expression of a worldly state of mind; the other,
causes to enlist them. There is ample evidence that the that it is part of a traditional campaign of subversion.
Jewish promoters have not overlooked that end of it. The former is the natural view among uninformed
This propaganda as at present observed may be people. It would be the preferable view, if peace of mind
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