Hello again. C.H. Dalton here, with another one of my Dalton Award-winning missives on race and racism. This week, I’d like to discuss the Jews.

Not the friendly, nebbishy Jews you see on The Goldbergs, or the brave, homicidal Jews in Israel, who are doing their best to bring about End Days by reclaiming the Holy Land. Not even the grasping, Machiavellian Jews in the Emmanuel family.

No, I’m talking about the most important, powerful Jews of all: the Jews who run Broadway. Instead of “The Great White Way,” they should call it “The Great Olive-Skinned, Hook-Nosed Way,” if you know what I mean.

Rodgers. Hart. Hammerstein. Gershwin. Gershwin. Lloyd Webber. Tharp. As far as I know, all Jewish. Doesn’t that strike you as a little more than a coincidence?

Like all red-blooded Americans, I enjoy a good musical—or, if the mood takes me, Seussical—but it’s important to understand the machinations behind the magic, so you don’t fall prey to their Homo-Zionist agenda.

The Jews have held a stranglehold on musical theater since its very inception in Egyptian times; they came up with elaborate song and dance numbers to help allay the drudgery of building the pyramids. For example, the song “’S Wonderful” from Funny Face was originally sung by Hebrew brick makers working in the hot, North African sun. (Brick making is a historically gay profession, like interior design and sea warfare.) And Jazz hands were originally invented to intermittently shield their eyes from the sun.

So the next time you head to the theater, remember: the neon lights may be bright on Broadway, but they’re powered by the ceaseless greed of our Zionist oppressors. That $125 you paid for a loge seat at The Color Purple is going straight into their vampiric coffers.

Don’t let this stop you from attending the theater; just make sure to be on your guard against the Jewish propaganda hidden within each Broadway show.

That’s all for this week. Come back next Wednesday for another elucidative online message from me, C.H. Dalton. Good day.