Chapter 11
Many people have wondered whence come the waves
upon waves of musical slush that invade decent homes and set the
young people of this generation imitating the drivel of morons.
Popular music is a Jewish monopoly. Jazz is a Jewish creation.
The mush, slush, the sly suggestion, the abandoned sensuousness
of sliding notes, are of Jewish origin.
Monkey talk, jungle squeals, grunts and squeaks and
gasps suggestive of calf love are camouflaged by a few feverish
notes and admitted in homes where the thing itself, unaided by
scanned music," would be stamped out in horror. The
fluttering music sheets disclose expressions taken directly from
the cesspools of modern capitals, to be made the daily slang, the
thoughtlessly hummed remarks of school boys and girls.
Is it surprising that whichever way you turn to trace
the harmful streams of influence that flow through society, you
come upon a group of Jews? In baseball corruption - a group of
Jews. In exploitative finance - a group of Jews. In theatrical
degeneracy - a group of Jews. In liquor propaganda - a group of
Jews. In control of national war policies - a group of Jews. In
control of the Press through business and financial pressure - a
group of Jews. War profiteers, 80 per cent of them - Jews.
Organizers of active opposition to Christian laws and customs -
Jews.
In this miasma of so-called popular music, which
combines weak-mindedness with every suggestion of lewdness -
again Jews.
The Jewish influence on American music is without
doubt regarded as serious by those who know anything about it.
Not only is there a growing protest against the Judaization of
our few great orchestras, but there is a strong reaction from the
racial collusion which fills the concert stage and popular
platform with Jewish artists to the exclusion of all others. If
they were superior artists, nothing against it could be said;
they are only better known and racially favored in Jewish musical
circles.
"Let me make a nation's songs and I care not who
makes the laws," said one; in this country the Jews have had
a very large hand in making both. It is the purpose of this
article to put people in possession of the truth concerning the
moron music which they habitually hum and sing and shout day and
night, and if possible to help them to see the invisible Jewish
baton which is waved above them for financial and propaganda
purposes. Just as the American stage and motion picture have
fallen under the control of Jews and their art-destroying
commercialism, so the business of handling "popular
songs" has become a Yiddish industry. The Jews who captured
it in the early days of exploitation were for the most part
Russian-born Jews, some of whom had personal pasts which were as
unsavory as the past of many Jewish theatrical and movie leaders
have been exposed to be.
In the early 1920's, Irving Berlin, Leo Feist and
other officers of seven music publishing corporations in New
York, were charged with violating the Sherman anti-Trust law in a
suit brought by the United States Government. The defendants, it
was alleged, controlled 80% of the available copyrighted songs
used by manufacturers of phonographs, player piano rolls and
other musical reproducing instruments, and fixed prices at which
the records or rolls were to be sold to the public. The
corporations involved in the action were the Consolidated Music
Corporation; Irving Berlin, Inc.; Francis, Day and Hunter, Inc.;
Shapiro, Bernstein & Co.; Watterson, Berlin & Snyder,
Inc.; and M. Witmark & Sons, Inc. - all of New York. The
agreement which the United States Government sought to dissolve
was alleged to provide that the defendants would make contracts
only through the Consolidated Music Corporation which they had
organized. The other 20% of the song business was controlled by
other Jewish music houses not included in that special group.
HOW THE JEWISH SONG TRUST MAKES YOU SING
Jews did not create the popular song; they
debased it. The time of the entry of Jews into control of the
populal song is the exact time when the morality of popular songs
began to decline. The "popular" song, before it became
a Jewish industry, was really popular. The people sang it and had
no reason to conceal it. The popular song today is often so
questionable a composition that performers with a vestige of
decency must appraise their audience before they sing. Citizens
of adult age will remember the stages through which the popular
song has passed during recent decades. War songs persisted after
the Civil War and were gradually intermingled with songs of a
later time, picturesque, romantic, clean. The same and similar
songs and ballads had a brief revival during World War I. These
were not the product of song-factories, but the creation of
individuals whose gifts were given natural expression. These
individuals did not work for combines of publishers but for the
satisfaction of their work, for individual artists of the
music-hall stage. There were no great fortunes made out of songs,
but there were many satisfactions in having pleased the public
taste. The public taste, like every other taste, craves what it
is given most to feed upon. Public taste is public habit. The
public is blind to the source of that upon which it lives, and it
adjusts itself to the supply. Public taste is raised or lowered
as the quality of its pabulum improves or degenerates.
In a quarter of a century, given all the avenues of
publicity like theater, movie, popular song, newspapers and radio
- in the meantime having thrown the mantle of contempt over all
counter-active moral agencies - you can turn out nearly the kind
of public you want. It takes just about a quarter of a century to
do the job.
In other days the people sang as they do now, but not
in such doped fashion nor with such bewildered continuity. They
sang because they wished to, not as an uncontrolled habit. They
sang songs nonsensical, sentimental, heroic, but the
"shady" songs were outlawed. The old songs come readily
back to memory. Though years have intervened since they were the
fashion, yet their quality was such that they do not die. The
popular song of last month - who knows its name? But there are
songs of long ago whose titles are familiar even to those who
have not sung them. What margin did these songs leave for the
suggestive and for the unvrholesomely emotional? Sentiment was
not lacking, but it was unobjectionable sentiment. Then came the
Jews; the popular song underwent a change. An entirely new crop
of titles appeared dealing with an entirely different series of
subjects than the songs they displaced Talented singers, tuneful
singing vanished. The Jew and the African period, being the
entrance of the jungle motif, the so-called "Congo"
stuff, and other compositions which swiftly degenerated into a
rather more bestial type than the beasts themselves arrive at.
Running alongside this swamp strain was the "ragtime"
style of music which was a development of the legitimate Negro
minstrelsy. Lyrics disappeared before the numerous
"cake-walk" songs that deluged the public ear.
Seductive syncopation swamped the harmony of the real song.
Minstrelsy took on a new life; glamorous youths mutter dirges in
low monotones, voluptuous females with grossly seductive gestures
moan nasal notes no real musician can recognize. "Piano
acts" were made the rage; "jazz bands" made their
appearance. By insensible gradations now easily traceable through
the litter of songs with which recent decades are strewn, we have
been able to see the decline in the popular song supply.
Sentiment has been turned into sensuous suggestion. Romance has
been turned into eroticism. The popular musical lilt slid into
ragtime and ragtime has been superseded by jazz and crooning.
Song topics became lower and lower until at last they are the
dredges of the slimy bottom of the underworld.
The first self-styled "King of Jazz" was a Jew named
"Frisco." The general directors of the whole downward
trend have been Jews. It needed just their touch of cleverness to
camouflage the moral filth and raise it half a degree above that
natural stage where it begets nothing but disgust.
PLAGIARISM
In this business of making the people's songs
the Jews have shown as usual, no originality but much
adaptability - which is a charitable term used to cover
plagiarism, which in its turn politely covers the crime of mental
pocket-picking. The Jews do not create; they take what others
have done, give it a clever twist, and exploit it. Plagiarism is
the result of mediocre artists being spurred on by nonartistic
promoters to produce something that can be dressed up with
sufficient attractiveness to draw the public's money. The Jews
bought up all the old song books, opera scores, collections of
folk songs, and, if you stop to analyze some of the biggest
"hits" of the early days of the Yiddish song
manufacturing Trust, you will find they are woven on the motif
and melody of the clean songs of the pre-swamp era. The music
jazzed and swung out of recognition, the sentiment sensualized
very much, and pushed upon their smutty road across the world.
Because of absolute Jewish control of the song market, both in
publish ing and in theatrical performance, it is next to
impossible for anything but a Jewish song to be published in the
United States, or if published, to get a hearing. The proof of
this is in the fact that the Yiddish trust owns all the business
and the so-called "song-hits" all bear Jewish names.
The insidiousness of the Jewish menace to our
artistic integrity is due partly to the speciousness, the
superficial charm and oriental persuasiveness of Hebrew art, its
glitter, its violently juxtaposed extremes of passion, its
poignant eroticism and pessimism, and partly to the fact that the
strain in us which might make head against it, the deepest, most
fundamental strain in our nature is diluted and confused by a
hundred other tendencies of the Jewish age. The Anglo-Saxon group
of qualities and the AngloSaxon point of view, are the vital
nucleus of the American temper. The Jewish domination of our
music threatens to submerge and stultify them at every point.
TIN-PAN-ALLEY
America does not sing what it likes, but what
the vaudeville "song-pluggers" popularize by repeated
renditions, until the flabby minds of the audiences begin to
repeat it on the streets.
The "song-pluggers" of theater, vaudeville
and radio, are the paid agents of the Yiddish song agencies.
Money, and not merit, dominates the spread of the moron music
which is styled Jewish jazz and swing. Non-Jewish music is
stigmatized as "high-brow." The people are fed from day
to day on the moron suggestiveness that flows in a slimy flood
out of "TinPan-Alley," the head factory of filth in New
York which is populated by the "Abies," the
"Izzies," and the 'Moes" who make up the composing
staffs of the various institutions. "TinPan-Alley" is
the name given to the region in Twenty-eighth street, between
Broadway and Sixth Avenue, where the first Yiddish song
manufacturers began business. Flocks of young girls who thought
they could sing, and others who thought they could write song
poems, came to the neighborhood allured by the dishonest
advertisements that promised more than the budding Yiddish
promoters could fulfill. Needless to say, scandal became rampant,
as it always does when so-called "Gentile" girls are
reduced to the necessity of seeking favors from the Jew. It was
the constant shouting of voices, the hilarity of
"parties," the banging of pianos and the blaring of
trombones that gave the district the name of
"Tin-Pan-Alley." All America is now one great
Tin-PanAlley, its entertainment, its youth, its politics, a blare
of moronic Judaism.
The diabolical cunning with which an unclean
atmosphere is created and sustained through all classes of
society and by the same influence, will not be overlooked by any
observer. There is something Satanic about it, something
calculated with demonic shrewdness.
And the stream flows on and on, growing worse and
worse, to the degradation of the non-Jewish public and the
increase of Jewish fortunes.
Ministers, educators, reformers, parents, citizens
are amazed at the growth of looseness among the people, and rail
at the evil results. They see the evil product and they attack
the product. They rail at the young people who go in for this
eroticism and suggestiveness. They deplore the sexual license,
the delinquency and the infantilism of the younger people. But
all this has a source! Why not attack the source? When a nation
is bathed in sights, sounds and ideas of a certain character,
drenched in them and drowned in them, by systematic, deliberate,
organized intent, the point of attack should be the cause, not
the effect.
Yet, that is precisely where the point of attack has
not been made, presumably because of lack of knowledge, possibly
because of fear.
It is little use blaming the people. The people are
what they are made. Give the liquor business full sway and you
have a population that drinks and carouses. The population could
be turned into drug addicts if the same freedom was given to the
illicit narcotic ring as is now given to the Yiddish popular song
manufacturers. In such a condition it would be stupid to attack
the addicts; common sense would urge the exposure of the
panderers.
A dreadful narcotizing of moral modesty and the
application of powerful aphrodisiacs have been involved in the
present craze for crooning songs - a stimulated craze. The
victims are everywhere. But too few of the opponents of this
moral poison see the futility of scolding the young people thus
diseased.
Common sense dictates a cleaning out, and a clearing
out, of the sources of the disease. The source is in the Yiddish
group of song manufacturers who control the whole output and who
are responsible for the whole matter from poetry to profits.
NOT SO "POPULAR"
Next to the moral indictment against the
so-called "popular" song is the indictment that it
" not popular There is no spontaneous popularity, public
taste is not so discriminating. It is artificial popularity by
constant plugging. It is a mere mechanical drumming on the minds
of the public. It is flung at them at every movie and from every
stage. It is advertised in flaring posters, gramophone records
shriek forth day and night, dance bands plug it, radios plug it,
and by sheer dint of repetition and suggestion the song catches
on-until it is replaced by another. It is the old game of
changing the styles to speed up business and make the people buy.
Nothing lasts in the Yiddish game - styles of clothing, movies
nor songs; it is always something "new" to stimulate
the flow of money from the popular pocket into the moron music
makers' coffers.
Two facts about the "popular" song are
known to all: first, that for the most part it is indecent and
the most active agent of moral miasma in the country, or if not
the most active, then neck and neck with the "movies";
second, that the "popular" song industry is an
excessively Jewish industry.
There is work here for the Anti-Defamation League!
That League knows how to put the screws on anyone who disparages
the Jews! From important publishers down to inconsequential
country newspapers, the Anti-Defamation League makes itself felt.
There is work for it in the movies and the theater and popular
song industries. Why does not the League put the screws on those
Jews who have degenerated the movies and debauched the people in
their "arts," sports, and entertainments? On those who
have brought shame on the racial name? Why not? Is the answer
that only non-Jews are to be controlled, and Jews let to run
loose? Is the answer that the gentle Gentiles can be curbed as by
bridle and bit and the Jews cannot? American Jewry is desperately
afraid of opening a single seam in its armour by means of a
single investigation or reform. They are afraid of how far the
fire of correction may spread !
"To prevent them from really thinking out
anything themselves, we shall deflect their attention to
amusements, games, pastimes, excitements and people's palaces.
Such intends will distract their minds completely from questions
on which we might be obliged to struggle with them. Becoming less
and less accustomed to independent thinking, people will express
themselves in unison with us because we alone offer new lines of
thought - of course through persons whom they do not consider as
in any way connected with us. "
- The Thirteenth Protocol