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.


  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 by 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.


  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.


  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 it 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 wax 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.


  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.


  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.