Every non-Jewish baseball manager in the United States lives between two fears, and they are both describable in the Biblical term “the fear of the Jews.” The first fear concerns what the Jews are doing to baseball; the second fear concerns what the Jew would do to the manager if he complained about it. Hence, in spite of the fact that the rowdyism that has afflicted baseball, especially in the East, is all of Jewish origin—the razzing of umpires, hurling of bottles, ceaseless shouting of profane insults; in spite of the fact that the loyalty of players had to be constantly guarded because of the tendency of individual Jewish gamblers to snuggle up to individual players; in spite of the evidence that even the gate receipts have been tampered with—the managers and secretaries of baseball clubs have been obliged to keep their mouths closed. Through fear they have not dared say what they know. As one manager said, “Good God, man, they’d boycott my park if I told you!”
This is in free America, and in the “cleanest game”! It is time for baseball to begin to look round.
Incidentally, the fans have been looking round. The fans know. If managers only knew how much the fans have observed, they might feel more certain of support in the event of a move toward a clean-up.
All that a Jew needs to make him eligible to baseball or any other sport on the same terms with other people, is to develop a sportsman’s spirit. The Jew has crowded into all the lucrative sports, but only on the commercial side of them, seldom if ever in sympathy with the sport as a real sportsman. The Jews referred to as gamblers in these articles are not really gamblers: they take no chances; they are not sportsmen enough to gamble; they are “sure thing” men. The “Gentile boobs” who walk into their traps are the people who provide the money. Even in the field of money, the Jew is not a sport—he is a gangster, ringing a gang of his ilk around his victims with as much system as a storekeeper supplies clerks and delivery boys.
Lately the Jews have been endeavoring to prove that they are sports. Venial sport editors are sometimes induced to write certain laudatory articles along that line, and frequently the name of Benny Leonard is used—Benny Leonard, the light-weight fighter. Benny forms an instructive illustration just along this line. Benny declares that he went into the ring without a scar and that he will leave the ring without a scar. Why? Because he will let no one hit him. He will go a long way to avoid pain.
The true wrestler risks and often suffers physical pain. So does the true ring fighter. But it is a Jewish characteristic to avoid, if possible, the pain of contest, just as it is a characteristic to avoid unnecessary effort.
Look at the other light-weight champions and fighters. Kid Lavinge carries scars; his hearing is affected by the blows he took. Battling Nelson was so badly shattered by his fights that operations were necessary. Ad Wolgast, as a result of the honest straight fighting he endured, went into a sanatorium. Imagine Willie Ritchie and Freddie Welsh boasting that they never took a blow! But Benny Leonard is still unscarred. It may be boxing, but it is not fighting.
Wrestling is so tightly controlled by Jewish managers, that a real wrestler is absolutely barred out, for fear he will be able to show that the handful of wrestlers hired by the Jewish trust are not wrestlers at all, but only impositions on the good nature of the public. In order that the statement just made may not be misunderstood, it is repeated: the wrestling game at present is like the chariot race in a circus—the performers are hired men and the race is only a sham. The Jewish controllers of wrestling will not permit real wrestler to appear—indeed, they go to infinite pains to bar him out—because a real wrestler would immediately show up the game. Wrestling is as much a Jewish business, controlled in its every part, as the manufacture of clothing, and its hirelings are mostly Gentiles.
That is what baseball was coming to. The whole sport was getting down to an “exhibition game” status. The overtone of “money, money, money” grew louder and louder. The sport aspect of the game was beginning to give way to the “show” aspect. There were numerous signs that an attempt was being made to “star” certain persons, to run “headliners,” and to pull off a game with a sensational ending—just like a ballet is staged, or a pageant. Thrills were being offered—not as the give and take of the game, the accident of tensest action, but as practiced acting.
That is, baseball was slowly being brought under the level of the box-office idea.