“The Melting Pot” Play Opens in Washington DC: a Propaganda Play to Incite Racial Tension

We have all heard of the term ‘Melting Pot’, it means the mixing of different races and cultures into one monolithic group forming the ‘New World and the New Man’. The term was popularized in 1908 by a play called ‘The Melting Pot’ written by the British born Jewish Zionist Israel Zangwill, his parents were Jewish immigrants from Russia. “The Melting Pot” opened in Washington DC on October 5, 1908.

Dr. David Duke discusses Israel Zangwill and ‘The Melting Pot’ in the following podcast:

Israel Zangwill, the writer

The play has come to represent the importation of mass non-European immigration into America which up until 1965 was over 90% white, and the assimilation and mixing with them into a ‘melting pot’. The idea of melting different cultures and ethnicities into sameness to create a ‘new man’ had been spoken of in the 18th and 19th century, but with the production of the 1908 play, it became popularized and known as the ‘melting pot’ that is spoken of today.

It is said that the 1908 play was idealizing the mixing of people from different European nations into the ‘new American’. And to an extent this is what happened prior to 1965 and the Open Immigration Act, vigorously campaigned for by Jewish groups. Since 1965, the term ‘melting pot’ has meant the mixing of all races from all over the world into one group of uniformity bereft of any racial identity, the ‘post racial society’. This is not only happening in America, but every nation that had a once white majority population. The pursuit of ‘racial diversity’ in white nations, is the pursuit of an end to real global racial diversity for the benefit of one group of people who see themselves as reigning supreme over us all.

One of the characters in the 1908 play says:

“America is God’s Crucible, where all the races of Europe are melting and reforming! Germans, Frenchmen, Irishmen and Englishmen, Jews and Russians, into the Crucible with you all! God is making the American.”

Is this what Israel Zangwill really wanted to put across in his play, or was it the precursor for what happened in 1965 and the opening of America’s borders to the whole world? Is it just a coincidence that Zangwill, a Jewish Zionist, and Jews who campaigned for the Open Immigration Act have advocated the mixing of races and cultures?

Lets take a closer look at Israel Zangwill.

Zangwill was a Fabian socialist and advocate of world government, he was also very supportive of the Bolshevik Revolution. Benjamin Netanyahu writes of Zangwill, in his book A Place Among the Nations: Israel and the World (Bantam Books, New York, 1993):

{p. 11} The receptivity that the great courts of the day accorded him in no way blinded Herzl to the primacy of winning Jewish adherents to Zionism. After Nordau, his greatest conquest among Jewish {p. 12} intellectuals was the celebrated English writer Israel Zangwill, who used his talents and influence to spread the creed of Zionism in Britain, which at the time was the foremost world power.

A revealing quote of Israel Zangwill:

“No, the real American has not yet arrived. He is only in the crucible, i tell you, he will be the fusion of all races, perhaps the coming superman.”

Israel Zangwill, being a Fabian socialist had close links with George Bernard Shaw, and one Israel Cohen, author of ‘A Racial Program for the 20th Century’, a book that is said to be a hoax by the usual suspects, but the proof of which can be seen in your nations today. The only remaining quote from this book is the following:

“We must realize that our party’s most powerful weapon is racial tensions. By propounding into the consciousness of the dark races that for centuries they have been oppressed by whites, we can mold them to the program of the Communist Party. In America we will aim for subtle victory. While inflaming the Negro minority against the whites, we will endeavor to instill in the whites a guilt complex for their exploitation of the Negroes. We will aid the Negroes to rise in prominence in every walk of life, in the professions and in the world of sports and entertainment. With this prestige, the Negro will be able to intermarry with the whites and begin a process which will deliver America to our cause.”

Entered into the Congressional Record on June 7, 1957 by Representative Thomas G. Abernethy. (Vol. 103, p. 8559, top of page.)

Israel Cohen

This book is now out of print, and the existence of the author Israel Cohen is denied even though he was one of the founders of Fabian Socialism in Britain, had written many books, and the foreword in a book by Israel Zangwill called ‘The Schnorrers’. It stands to reason that the existence of such a book, ‘a Racial Program for the 20th Century’, would blow wide open the real agenda of mass non-white immigration hence the need to deny its existence.

It took 2 years for the existence of the book and the author to be denied after all books had been seized and printing had been stopped. The book was said to be a humanitarian follow up to the Zangwill ‘The Melting Pot’ play. This was revealed by a man named Myron Fagan a staunch anti-communist, who stated:

“Now in those years, the legendary Diamond Jim Brady used to throw a banquet at the famous Delmonico Restaurant in New York after the opening-performance of a popular play. He threw such a party for the cast of “The Melting-Pot,” its author, producer, and chosen Broadway-celebrities. By then I’d already made a personal mark on the Broadway Theater and was invited to that party. There I met George Bernard Shaw and a Jewish writer named Israel Cohen. Zangwill, Shaw, and Cohen were the ones who created the Fabian Society in England and had worked closely with a Frankfurt Jew named Mordicai who had changed his name to Karl Marx; but remember, at that time both Marxism and Communism were just emerging and nobody paid much attention to either and nobody suspected the propaganda in the writings of those three really brilliant writers.

“At that banquet; Israel Cohen told me that he was then engaged in writing a book which was to be a follow-up on Zangwill’s “The Melting-Pot.” The title of his book was to be “A Racial-Program for the 20th Century.” At that time I was completely absorbed by my work as a playwright, and significant as that title was, its real-objective never dawned on me nor was I interested in reading the book. But it suddenly hit me with the force of a hydrogen-bomb when I received a newspaper-clipping of an item published by the Washington D.C. Evening Star in May 1957. That item was a verbatim reprint of the following excerpt in Israel Cohen’s book “A Racial-Program for the 20th Century” and it read as I quote:

“Thus the authenticity of that passage in Cohen’s book was fully established. But the one question that remained in my mind was whether it represented the official policy or plot of the Communist Party or just a personal expression of Cohen himself. Hence I sought more proof and I found it in an official pamphlet published in 1935 by the New York Communist Party’s official Workers’ Library Publishers. That pamphlet was entitled: “The Negroes in a Soviet America.” It urged the Negroes to rise-up; form a soviet-state in the south, and apply for admission to the Soviet Union. It contained a firm pledge that the revolt would be supported by all American “reds” and all so-called “liberals”. On page 38; it promised that a Soviet government would confer greater benefits to Negroes than to whites and again this official communist pamphlet pledged that; I quote: “any act of discrimination or prejudice against a Negro will become a crime under the revolutionary law.” That statement proved that the excerpt in Israel Cohen’s book published in 1913 was an official-edict of the Communist Party and directly in line with the Illuminati-blueprint for world-revolution issued by Weishaupt and later by Albert Pike.

Whether you believe this book and quote to be a hoax or not doesn’t matter in the grand scheme of things. If you are awake to the ‘diversity’ agenda and the real reasons behind mass immigration, then it passes the duck test, ie if it quacks like a duck, then its a duck. The proof is in the visual, and only the awakened can see it. You can see the link between Zangwill and his melting pot idea, and Cohen and his ‘racial program for the 20th century’. They both have one defining and recurring theme, the Jewish desire to use race as a weapon against their primary foe, the White European.

Israel Cohen also wrote that “While inflaming the Negro minority against the whites, we will endeavor to instill in the whites a guilt complex for their exploitation of the Negroes. We will aid the Negroes to rise in prominence in every walk of life, in the professions and in the world of sports and entertainment. With this prestige, the Negro will be able to intermarry with the whites and begin a process which will deliver America to our cause.”

People often refer to the Protocols of the Learned Elders of Zion as being a hoax, but ultimately it is immaterial because whoever wrote them has provided us with a prophetic look into the future and the Racial Program for the 20th century can be put into the same category. George Orwells ‘1984’ was a work of fiction, however nobody would deny that today there is an uncanny similarity between what he wrote, and the world we live in today. It could easily be considered a warning of a dystopian future that he had foreseen and which we live in today. Again, the same applies to the Protocols and the Racial Program for the 20th Century. The proof is in the pudding.

The Play

From Wikipedia:

It depicts the life of a Russian-Jewish immigrant family, the Quixanos. David Quixano has survived a pogrom, which killed his mother and sister, and he wishes to forget this horrible event. He composes an “American Symphony” and wants to look forward to a society free of ethnic divisions and hatred, rather than backward at his traumatic past.

David, the hero of the play proclaims: “There she lies, the great Melting Pot–listen! Can’t you hear the roaring and the bubbling? There gapes her mouth [_He points east_]–the harbour where a thousand mammoth feeders come from the ends of the world to pour in their human freight. Ah, what a stirring and a seething! Celt and Latin, Slav and Teuton, Greek and Syrian,–black and yellow-“

VERA: “Jew and Gentile-”

DAVID: “Yes, East and West, and North and South, the palm and the pine, the pole and the equator, the crescent and the cross–how the great Alchemist melts and fuses them with his purging flame! Here shall they all unite to build the Republic of Man and the Kingdom of God. Ah, Vera, what is the glory of Rome and Jerusalem where all nations and races come to worship and look back, compared with the glory of America, where all races and nations come to labor and look forward!”

Although the idea of “melting” as a metaphor for ethnic assimilation had been used before, Zangwill’s play popularized the term “melting pot” as a symbol for this occurrence in American society.

The Melting Pot opened in Washington, DC, on October 5, 1908. President Theodore Roosevelt, in attendance that night, is said to have shouted “That’s a great play, Mr. Zangwill.” It opened at the Comedy Theatre in New York on September 6, 1909, and ran for 136 performances. It was produced by Liebler & Co. and staged (directed) by Hugh Ford. As in the original production, Walker Whiteside played David, Henry Vogel played Herr Pappelmeister and Chrystal Herne (daughter of James A. Herne) played Vera.

In the play, David emigrates to America in the wake of the 1903 Kishinev pogrom in which his entire family is killed. He writes a great symphony called “The Crucible” expressing his hope for a world in which all ethnicity has melted away, and falls in love with a beautiful Russian Christian immigrant named Vera. The dramatic peak of the play is the moment when David meets Vera’s father, who turns out to be the Russian officer responsible for the annihilation of David’s family. Vera’s father admits his guilt, the symphony is performed to accolades, David and Vera live happily ever after, or, at least, agree to wed and kiss as the curtain falls.

Here is documentary proof of the beginning of their deliberate plot to foment the Negroes into all their lawlessness from a transcript of Myron Fagan discussing the play. Fagan was a well known film and theater writer, director, and producer in America.

Around 1910, one Israel Zangwill wrote a play entitled “The Melting Pot.” It was sheer propaganda to incite the Negroes and Jews because the play purportedly visualized how the American people were discriminating against and persecuting Jews and Negroes. At that time, nobody seemed to realize that it was a propaganda play—it was that cleverly written. The propaganda was well lapped up, and the truly great entertainment in the play, and it was a big Broadway hit. Now, in those years, the legendary Diamond Jim Brady used to throw a banquet at the famous Delmonico Restaurant in New York, after the opening performance of a popular play. He threw such a party for the cast of “The Melting Pot,” its author, producer and chosen Broadway celebrities. By then I already made a personal mark on the Broadway theater, and was invited to that party. There I met George Bernard Shaw and a Jewish writer named Israel Cohen. Zangwill, Shaw and Cohen were the triumvirate who created the Fabian Society in England and had worked closely with a Frankfurt Jew named Mordechai who had changed his name to Karl Marx. But remember, at that time both Marxism and Communism were just emerging and nobody paid much attention to either, and nobody suspected the propaganda in the writings of those three really brilliant writers.

At that banquet, Israel Cohen told me he was then engaged in writing a book which was to be a follow-up on Zangwill’s “The Melting Pot.” The title of his book was to be A Racial Program for the Twentieth Century. At that time, I was completely absorbed by my work as a playwright, and significant as that title was, its real objective never dawned on me, nor was I interested in reading the book. But it suddenly hit me with the force of a hydrogen bomb when I received a newspaper clipping of an item published by the Washington, D.C. Evening Star in May 1957. That item was a verbatim reprint of the following excerpt in Israel Cohen’s book, A Racial Program for the Twentieth Century, and it reads as I quote:

“We must realize that our Party’s most powerful weapon is racial tension. By propounding into the consciousness of the dark races that for centuries they have been oppressed by the Whites, we can mold them to the program of the Communist Party. In America, we will aim for subtle victory. While inflaming the Negro minority against the Whites, we will instill in the Whites a guilt complex for their exploitation of the Negroes. We will aid the Negroes to rise to prominence in every walk of life, in the professions and in the world of sports and entertainment. With this prestige, the Negro will be able to intermarry with the Whites and begin a process which will deliver America to our cause.”

That same excerpt was entered into the Congressional Record of June 7, 1957, by Representative Thomas B. Abernathy. Thus, the authenticity of that passage in Cohen’s book was fully established. But the one question that remained in my mind was whether it represented the official policy or plot of the Communist Party, or just a personal expression of Cohen himself. Hence I sought more proof, and I found it. In an official pamphlet published in 1935 by the New York Communist Party’s official Workers’ Library Publishers, that pamphlet was entitled, “The Negroes in a Soviet America.” It urged the Negroes to rise up, form a Soviet state in the South, and apply for admission to the Soviet Union. It contained a firm pledge that the revolt would be supported by all American Reds and all so-called liberals. On page 38, it promised that a Soviet government would confer greater benefits to Negroes than to Whites, and again this official Communist pamphlet pledged that, I quote, “any act of discrimination or prejudice against a Negro will become a crime under the revolutionary law,” unquote. That statement proved that the excerpt in Israel Cohen’s book, published in 1913, was an official edict of the Communist Party and directly in line with the Illuminati blueprint for world revolution issued by Weishaupt and later by Albert Pike.

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