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From: A.W. Mann

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Excerpted from The Councilor

Shreveport, Louisiana

Vol. 13, #7, August 1, 1976


The great silent film “Birth of a Nation” was seen by millions of Americans, but only because Tom Dixon knew how to thwart the Frankfurt Bloc.  The film told the truth about terrible conditions in the South during the Reconstruction Era.  Agents of the Rothschilds, working through carpetbaggers, and inflamed blacks, terrorized whites.  Illiterate black legislators voted away the substance of the South for bond issues which favored only Frankfurt.  Black sheriffs protected black rapists of white women.  Terror and murder stalked the heels of every Southern white man.  The fear of rape held white women captives in their own homes.  Rarely in the history of mankind has a vanquished foe felt such a heel of horror as that which crushed heavily upon the South during the years after the Civil War.


Much of the information was censored from the North.  The North learned only through the accounts of honorable Northerners who returned home in disgust after witnessing the excesses of Black-and-Tan government.  Censorship has prevailed to this day.  Until World War 2, textbooks in Southern schools recounted the terror to children as a warning of what Black-and-Tan government could do; but even these have now been censored.


Thomas Dixon, Jr. and D. W. Griffith teamed in an effort to break the web of censorship and spread the warning to all parts of the nation.  Their vehicle was to be a truthful movie, “Birth of a Nation.”  The making of the film, the sacrifices of the actors and actresses, involvement of the White House and Supreme Court, and the thwarting of censors comprise a story that rivals the film script itself in excitement and revelation.  The movie lifted motion pictures from the lowly status of peep shows into a new art form.  But it almost died a-borning.


A Scotsman with Story-Telling Talent


The story came from the research and pen of Thomas Dixon, Jr., a former North Carolina legislator and silver-tongued orator.  In New York this Scotsman learned of the woeful ignorance of the American people.  Although he could speak to thousands, he needed to reach millions.  He decided to write books about the horrors of the Reconstruction Era and to warn the nation of the coming efforts of certain wealthy families to “Communize” the world.  The decision was made 25 years after Reconstruction and nearly 20 years before the Russian revolution!


For 14 years Dixon had assembled background material for the books on the Reconstruction, beginning when memory of the horrors was fresh in the minds of its victims.  He finally selected a title – The Leopard’s Spots – for his first book.  His inspiration came from the Biblical question, “Can the Ethiopian change his skin or the leopard his spots?”  The manuscript was submitted late in 1901 or early in 1902 to an old friend, Walter Hines Page.  Page had become a member of Doubleday, Page & Co.


Survival of a Bloody Manuscript


Page became so excited as he read the manuscript that he stayed up all night to finish it.  After dawn, he groggily set aside the story long enough to bathe and shave.  Starting out for breakfast, he continued to read as he walked, bumping into other pedestrians along the way.  Lost in the commanding yarn, Page forgot that he was walking in the morning traffic of New York.  As he crossed Fourth Avenue, still reading, he was knocked flat by a streetcar.  Blood flowed from multiple injuries and pain; shock and surprise dazed him.  After release by a physician, Page continued the story, reading a manuscript now soaked in his own blood.  He wired Dixon in Maryland that he wanted to publish the story.  Although the firm expected the book would sell no more than 25,000 copies, it passed the 100,000 [mark] within a few months.


Public response was immediate and volatile.  Fame of the book soon spread across the seas, and there were translations into foreign tongues and printings in England.   Sales eventually surpassed a million, making it one of the best-selling hard-cover books in American history.  The success helped vault Doubleday, Page into the rarified atmosphere of major publisher, and Dixon was soon wealthy.


(Editor’s Note:  Most of those million copies have been destroyed by time and by intent.  Since 1964, The Councilor has located several thousand of the surviving copies and has placed these in the hands of those who would protect and cherish them.)


By 1905, the Carolina Scotsman was so well known that he was able to get his views into Saturday Evening Post.  He revived the old plan put forward by Abraham Lincoln, Thomas Jefferson, Henry Clay, [and] Daniel Webster who wanted to gradually resettle great numbers of American negroes in other lands.


In the Saturday Evening Post article, Dixon said:  “As a friend of the negro race, I claim that he should have the opportunity for the highest, noblest and freest development of his full, rounded manhood.  He has never had this opportunity in America, either North or South, and he never can have it.  The forces against him are overwhelming.”


Dixon followed quickly with his first story attacking Socialism and Communism, The One Woman, published in 1903.  Popularity of The One Woman was enormous – almost rivaling The Leopard’s Spots.  Next came The Clansman, a sequel to The Leopard’s Spots.  The story was based on the vile activities of the Rothschild agent, Congressman Thaddeus Stevens.  In the book the twisted, corrupt Stevens became “Austin Stoneman.”  A Chicago journalist attacked Dixon for what seemed to be an unwarranted and unjust attack on Stevens.  Dixon supplied proof that his story was true and the journalist apologized.


Dixon had Proof that the Story was True


An anonymous article appeared in the Charlotte (N.C.) Daily Observer questioning the accuracy of the story.  Dixon replied:  “My critic uses the history of North Carolina with which to contradict The Clansman, when he knows if he has read the book that the scene is laid in South Carolina. . . . I drew of old Thaddeus Stevens the first full length portrait of history.  I showed him to be what he was, the greatest and the vilest man who ever trod the halls of the American Congress.  I dare my critic to come out from under his cover and put his finger on a single word, line, sentence, paragraph, page, or chapter in The Clansman in which I have done Thad Stevens an injustice.”


Sales of The Clansman surpassed even the spectacular successes of the earlier books.  Bookstores sold out almost as fast as they got new shipments.


His next success was a play based upon The Leopard’s Spots and The Clansman.  Aware that efforts would be made to malign the play and to frighten away audiences, Dixon appeared in person at the opening night.  He told the audience:  “My object is to teach the North, the young North, what it has never known – the awful suffering of the white man during the dreadful reconstruction period.  I believe that Almighty God anointed the white men of the South by their suffering during that time immediately after the Civil War to demonstrate to the world that the white man must and shall be supreme.  To every man of color here tonight I want to say that not for one moment would I do him an injury. . . . I have nothing but the best feeling for the negro.”


The play drew huge audiences as it moved through the South, preparatory to going North where the message was most needed.  But even then, a trickling of misguided preachers and politicians – possibly upon signals from their distant masters – tried to scare away audiences.  The Montgomery Advertiser and the Chattanooga Daily Times – as could be expected – attacked Dixon and his play.  The effete and New York-controlled editor of the Knoxville Journal and Tribune attacked without seeing the play.  He called Dixon “a servant of the devil” and charged that Dixon “never was well-balanced” and has now “gone crazy.”  This is typical of the hate that is poured out by those who dance to the tunes of the Frankfurt Bloc.  Anyone who tries to tell the truth is attacked in the bitterest of terms.


The play soon moved to Columbus, Ohio, Indianapolis, and Topeka, attracting capacity crowds and rave notices.  Soon there were three more companies of actors to take the play to all parts of the nation.  New York was stunned.



Tactics of Today Were Used Then


Agents of the Frankfurt Bloc attempted to trigger riots in various Northern cities in hope of embarrassing Dixon and forcing their censorship further.  A riot in Philadelphia stopped the play after four weeks.  As gate receipts and royalties poured in, Dixon became temporarily wealthy – a condition which was changed by the Wall Street manipulation of 1907 in which he lost nearly everything.  Perhaps it was this experience which gradually began to open his eyes to the reasons some wealthy men finance Red Revolution.  He never fully understood the connection, but he was among the first to realize that there is a connection.


In September 1911, Dixon tried to broaden his reach by producing a film version of The Clansman.  The production organization was to be known as the Kinemacolor-Clansman Corporation, but it never got off the ground.


It was in 1913 that a former newspaper reporter from Kentucky, D. W. Griffith, took an interest in Dixon.  Griffith was not proud of the movie industry at that time.  He had been doing scenarios for one-reel motion pictures at only $5.00 to $15.00 each.  Movies were trash, and Griffith knew it.  He half-apologetically referred to each new production as “grinding out another sausage.”


Griffith worked for Harry E. Aitken.  Aitken contracted to produce a film based on Dixon’s work called “Birth of a Nation.”  The trouble:  No one connected with the film had any money.  Dixon and Griffith worked in a dirty loft in Union Square to get the scenario together.  Soon afterward, Griffith moved his work to Sunset Boulevard in Hollywood where he would hire a group of then unknown actors and actresses.  They were:  Lillian Gish, Dorothy Gish, Henry B. Walthall, Mae Marsh, Ralph Lewis, Elmer Clifton, Wallace Reed, Howard Gaye, Raoul Walsh, Joseph Henabery and Donald Crisp.  Available funds were soon exhausted, but the young actors and actresses became so enthusiastic about this effort, they subsidized it personally.  Almost as if they knew that the film would make American history as well as record it, they responded in a way that Hollywood people have not since risen to the occasion.


Film was Saved by Dedicated Employees


Three times Griffith was forced to suspend production because of fund depletion.  Each time the employees, including actors, stagehands, barbers and chambermaids donated their salaries and savings.  Lillian and Dorothy Gish offered their entire savings -- $300.  Their mother made many of the costumes.  Lillian toted in pieces of fabric and junk for the making of props and scenery.  At no time did any actor get a salary of more than $75 a week!


Prior to Griffith’s filming of “Birth of a Nation” there was nothing in the film industry which would remotely resemble today’s feature movies.  Producers were largely young immigrants from Russia and others who had no proven story-telling ability.  Camera work prior to “Birth of a Nation” consisted of a series of stilted poses taken at random distances and spliced together with little or no continuity.  Griffith created or perfected such techniques as the close-up, iris dissolve, cutback, fade-out, soft focus and montages.  He developed climactic action sequences to capture the emotions of the viewers.


Shooting was finished in 1914, and Dixon was soon on his way to New York to show the finished version to 75 persons who would be involved in promoting it.  Dixon hid in the balcony.  He later recalled:  “The last light dimmed, a weird cry came from the abyss below – the first note of the orchestra, a low cry of the anguished South being put to torture.  It set my nerves tingling with its call.  And then a faint bugle note of the Southern bivouac of the dead.  In it no startling challenge to action.  No trumpet signal to conflict.  It came from the shrouded figures of the great shadow world.  And then I saw my story enacted before my eyes in scenes of beauty and reality.  And always the throb through the darkness of that orchestra raising the emotional power to undreamed heights.  It was uncanny.  When the last scene had faded, I wondered vaguely if the emotions that had strangled me were purely personal.  I hesitated to go down to the little group in the lobby and hear their comments.  I descended slowly, cautiously, only to be greeted by the loudest uproar I had ever heard from 75 people.”


In his enthusiasm, Dixon shouted across the auditorium to Griffith that the old title, The Clansman, was too tame for such a powerful story.  The name was changed then to “Birth of a Nation.”


More Efforts Made to Censor the Truth


When news of the film appeared in local media, a quick hammer-blow response came from flunkies of the Frankfurt Bloc.  If ever one doubted that the Illuminati was alive and kicking in New York City in 1914, he has only to see the type of opposition which came slithering out from under the various stones.  Leading the opposition were Oswald Garrison Villard, Moorfield Storey and Rabbi Stephen Wise.  Villard and Wise were near the top in the Frankfurt power cadre for the United States.  Storey was more of a flunkey, as president of the American Bar Association.


Councilor Crosscard Files show that Villard’s real name was Hilgard.  He was born March 13, 1872 in Weisbaden, Germany, son of the notorious Austrian Red Revolutionist, Henry Hilgard (alias Villard).  The elder Hilgard had been a Rothschild agent in the financing of railroads after fleeing to the U.S. following his exposure as a Red leader.  The mother was Fanny Garrison, daughter of the notorious Rothschild agitator, William Lloyd Garrison.  Oswald Garrison Hilgard (alias Villard) was one of the founders of the black civil rights movement and helped set it on the road to arson and bloodshed.


Councilor Crosscard Files show that Rabbi Wise was born in Budapest, Hungary on March 17, 1874.  His family was reportedly involved in assassination activity in Hungary before migrating to America.  His mother was Sabine deFischer Farkashasy.


Both Rabbi Wise and Hilgard were close associates of the Lehman Family which had profited so greatly by control of illiterate negro legislatures in the South during the Reconstruction Era.  (Councilor Crosscard Files show that Lehman, Durr & Co. were “fiscal agents” for the black legislature in Alabama which voted outlandish bond issues in favor of the Frankfurt Bloc and that Lehman, Stern & Co. played a similar role in the larcenous activity of the black legislature in Louisiana.)


Within a few days after its preview, “Birth of a Nation” seemed doomed to meet the fate of many other efforts to crack the iron curtain of censorship.  The opponents threatened to suppress it completely.


A Bold Thrust by Dixon Thwarted Censors


Lesser men would have met defeat, but Thomas Dixon struck two quick blows at the iron curtain, using a sharp axe that rent the veil.  “If,” thought he, “the President and the Supreme Court could see my film before the death signal is sounded and they like it, there is a chance that truth will prevail.”


Woodrow Wilson was in the White House.  Wilson was a dupe until near the end of his life.  The Frankfurt Bloc controlled him through its persuasive agent, Mandel Huis – alias Colonel Edward House.  Decisions of state usually went through House or Warburg.  However, Dixon had known Wilson personally, and Wilson owed him a favor.  It was Dixon who had helped Wilson get an honorary degree at Wake Forest College in North Carolina.


Dixon called at the White House.  Would Wilson view the film as a scholar and historian?  Wilson said it was too soon after the death of the first Mrs. Wilson to attend a public showing, but he would be delighted to see it in the East Room of the White House.  Oh, yes, he would bring along his cabinet!


On February 18, 1915, the president and cabinet, Margaret Wilson (the president’s daughter), and members of the families of the cabinet viewed the 2 ½ hour film.  Wilson saluted “Birth of a Nation” with these words:  “It is like writing history with lightning.  And my only regret is that it is all so terribly true.”


Secretary of the Navy, Josephus Daniels, arranged an interview with Chief Justice Edward Douglass White, then a man in his twilight years.  White at first refused to view the film:  “Moving Picture!  It’s absurd, Sir.  I never saw one in my life, and I haven’t the slightest curiosity to see one.  I’m very busy.  I’ll have to ask you to excuse me.”  Then Dixon used the magic he suspected would open the door.  He revealed that the film was a truthful account of the horrid treatment given Southerners by negro and carpetbagger government and how white men rose up to break the chains that bound them.


White had been a young man in Louisiana at the time.  He had witnessed those events.  Furthermore, like virtually every honorable white man of the time, he had ridden as a “Knight” of the original Ku Klux Klan.  He was proud of it.  Yes, he would see a moving picture if it was about that and if it told the world the truth about that scoundrel, Thad Stevens.  The proud old man, hoping to spread the true light of history, invited other members of the Supreme Court.  Members of the Senate and House of Representatives attended as guests of the court.


As the film was being shown, Dixon pondered on the future of films in America and the world as instruments for good and for evil:  “I watched the effects of the picture on the crowd of cultured spectators and realized for the first time the important fact that we had not only discovered a new universal language of man, but that an appeal to the human will through this tongue would be equally resistless to an audience of chauffeurs or a gathering of a thousand college professors.”


Louis Dembitz Brandeis of the Frankfurt Bloc had not yet come to the Supreme Court.  The court at the time had no dedicated un-Americans on it, and apparently the members of the Senate and House who viewed the film were also loyal Americans.


Hilgard gets a Startling Tidbit


At any rate, news did not leak to the Frankfurters in New York – Hilgard (alias Villard), Rabbi Wise and Storey.  They pressed forward with their plan to destroy “Birth of a Nation.”  As the film was scheduled to make its first public appearance in New York, the Frankfurters moved to close the theater on opening night.  At a preliminary court session less than 48 hours prior to curtain time, these wiley illuminists obtained a warrant for the closing.  A sheriff was to “Close’er down!”  At this point, a defense attorney mentioned that the film had been shown a few nights earlier at the White House.  The opposition, believing that Woodrow Wilson was 100% their captive, refused to accept assurance that the president had seen it and did not disapprove.  They hastily telephoned Margaret Wilson at the White House in a “Say it isn’t so, Margaret” mien.  Margaret confirmed the showing to President, Cabinet, Supreme Court and Congress!  The Frankfurters sizzled in their own greasiness. . . . They could not risk telling the entire nation that the film was unfit to be seen if the nation’s leaders had seen it and liked it.  No politician in New York would risk a part in such censorship under those conditions.  The chief magistrate of the City of New York immediately withdrew the warrant for suppression of the film.


The film opened at the Liberty Theatre – a fitting name – in New York on March 3, 1915.  The “Birth of a Nation” became the sensation of the epoch.  Response was electrifying as it almost always is when forbidden truth is dramatized.


Rabbi Stephen Wise did not give up.  He was a member of the board of censors.  He hated the symbolism of the cross with a passion as great as his hatred for white Southern Christians.  He tried to get the censorship board to close the box office, but they were afraid to act because of the prior showing to the nation’s leaders in Washington.


Wise lost his cool.  He screeched:  “If it be true the mayor has no power to stop this indescribably foul and loathsome libel on a race of human beings, then it is true that government has broken down.  The Board of Censors which allowed this exhibition to go on is stupid or worse.  I regret I am a member.”


Hired agitators then appeared, in much the same way that members of the Lehman Family often produce well-rehearsed “spontaneous” demonstrations.  Rotten eggs were thrown at the screen.  Policemen were forced to quell the rioters who attempted to stop freedom of speech.  This was a forerunner of such demonstrations at colleges where chanters attempt to drown out the words of those who arrive on campus to speak truth.  Moorfield Storey tried to suppress the film in Massachusetts.  The governor of that state agreed that the First Amendment would be upheld and provided police to protect audiences from Storey’s thugs.


The Frankfurters turned on their full fury through the press, captive pulpits and secret societies.  A mob of 25,000 “demonstrators” assembled at the Capitol to demand that Governor Walsh take steps to ban the film.  Yielding to pressure, politicians rushed the film suppression bill through the Massachusetts House, but the Senate found it unconstitutional.  An unwashed assemblage, estimated at 10,000, was then raised by the Frankfurters.  These “demonstrators” fought a pitched battle with police for 24 hours, insisting upon an end to the First Amendment right of Americans who dared tell the truth.


Again Frankfurter agents slithered from stones and issued charges that the story was untruthful.  Dixon responded by offering a reward of $1,000 to anyone who could prove one historical inaccuracy in the story.  There were no takers; the story was true.  The story was not only true, but it was prophetic of conditions which once again may prevail in America as [the] Frankfurters use the bloc vote of negroes to serve their own anti-American goals.  [The] Frankfurters applied pressure and – perhaps even bribes – to censorship boards in large cities wherever they had the power to control a major segment of the press.  Chicago first rejected the film, but finally accepted a permanent injunction against interference, provided children under 18 were excluded.  Today, [the] Frankfurters are pleased to show all forms of filth to children, but then – as now – they didn’t want truth to reach young minds.


Dixon and Griffith were forced to spend more than $100,000 in legal fees to protect America’s right to see the truth.  Fortunately, the film was so well-done and so well-received that it brought in thousands of dollars every day.


Typical of the reviews in newspapers not controlled by the Frankfurters at that time was this one in the old Atlanta Journal:  “The Birth of a Nation hit Atlanta like a tidal wave.  The story of the Creation was told in eight words, but should the pen of another Moses be raised today he would need 10 times the number of pages to do credit to the Birth of a Nation.  There has been nothing to equal it – nothing . . . . If you haven’t seen it, spend the money, borrow it, beg it, get it any old way.  But see the ‘Birth of a Nation.’”


The film was probably the greatest box office puller of all time.  Americans spent a higher percentage of their total income to see it than they lavished on “Gone With the Wind.”  In terms of silver (but not paper FRNs), it out-pulled the combined gate receipts of “The Godfather” and “Jaws.”  The film never really died.  Every effort to kill it merely cut the gate receipts.  A few copies are still making the rounds from time to time, and if newspapers would advertise it for what it really is, a showing today would again attract large audiences.


One accomplishment of the film and the book upon which it was based:  It cost the Frankfurters hundreds of millions of dollars to prevent a resurge of the same white forces which kicked their grandfathers out of the statehouses of the South a hundred years ago.  They live in mortal fear that history will repeat itself full cycle.  The money they have spent to brainwash Americans on the matter of race is money that they could have used elsewhere in their grand design.  They need the negro bloc vote to hold power in America, and they know it.  The work of Thomas Dixon has made this task much more costly and much slower than it would otherwise have been.


The Frankfurters never really give up.  Most of those millions of copies of the Book upon which the film was based have been destroyed – some by natural attrition, some by design.  The Councilor doesn’t give up easily either.  We have rescued thousands of copies – as we did with The Leopard’s Spots – and are placing these collector’s copies in the hands of good Americans who recognize them as a part of white man’s nobler heritage.  When the original books are all gone:  well, we have a set of plates ready for reprints.


Truth shall not die so long as there is a Councilor and men and women who will carry forward the guidon of Thomas Dixon, D. W. Griffith and others who refuse to run scared.


We agree with Dixon and Griffith that the American nation has been born.  It will come of age when truth is welcome everywhere.