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 interior, 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, papers being threatened with the loss of advertising. In all

the years since the Trust has hounded and black-listed critics why tell the

truth and have prevented their employment by newspapers.*

The rage of the day is not plays but playhouses. The theatrical

business entered upon •ts 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, s_ince it

came under the influence and control of a group of formerbootbiacks,

news-boys, ticket speculators, prize ring habitues, .and Bowery

characters.

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 ne w

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, musi~ i ans. With

>>16368491

It's a book called "The International Jew" By Henry Ford. If they get to have "Vatican Research" and spam 100 times a bread the same shit graphic I'll start spamming a different anti-Jew book every day.

their gauge of public taste and their model 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 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"

J ews 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 ever habitable comer 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 suggestion 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 fmancial, of the Jewish

manipulators of the public mind.

The moral side ot 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