EN

jewish Supremacy in

the Theater and Cinema

"To wear everyone out by dissensions, animosities, feuds, famine, inoculation

of diseases, want, until rhe Gentiles see no other way of escape except an appeal

to our money and power."

-The Tenth Protocol

T he 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 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

Jewish Supremacy in the Theater and Cinema 99

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 3 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 (vaudevill-

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

feet has gone out of the Theater; a dark, Oriental atmosphere has come

instead.

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