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Top: Jewish References &Documents: Gentiles SpeakingAbout Jews: Henry Ford: THEINTERNATIONAL JEW IN ITS ENTIREITY:
Many people have wondered whence come the waves upon waves of musicalslush that invade decent homes and set the young people of this generationimitating the drivel of morons. Popular music is a Jewish monopoly. Jazzis a Jewish creation. The mush, slush, the sly suggestion, the abandonedsensuousness of sliding notes, are of Jewish origin.
Monkey talk, jungle squeals, grunts and squeaks and gasps suggestiveof calf love are camouflaged by a few feverish notes and admitted in homeswhere the thing itself, unaided by scanned music," would be stampedout in horror. The fluttering music sheets disclose expressions taken directlyfrom the cesspools of modern capitals, to be made the daily slang, the thoughtlesslyhummed remarks of school boys and girls.
Is it surprising that whichever way you turn to trace the harmful streamsof influence that flow through society, you come upon a group of Jews? Inbaseball corruption - a group of Jews. In exploitative finance - a groupof 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 groupof Jews. War profiteers, 80 per cent of them - Jews. Organizers of activeopposition to Christian laws and customs - Jews.
In this miasma of so-called popular music, which combines weak-mindednesswith every suggestion of lewdness - again Jews.
The Jewish influence on American music is without doubt regarded as seriousby those who know anything about it. Not only is there a growing protestagainst the Judaization of our few great orchestras, but there is a strongreaction from the racial collusion which fills the concert stage and popularplatform with Jewish artists to the exclusion of all others. If they weresuperior artists, nothing against it could be said; they are only betterknown 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 makingboth. It is the purpose of this article to put people in possession of thetruth concerning the moron music which they habitually hum and sing andshout day and night, and if possible to help them to see the invisible Jewishbaton which is waved above them for financial and propaganda purposes. Justas the American stage and motion picture have fallen under the control ofJews and their art-destroying commercialism, so the business of handling"popular songs" has become a Yiddish industry. The Jews who capturedit in the early days of exploitation were for the most part Russian-bornJews, some of whom had personal pasts which were as unsavory as the pastof many Jewish theatrical and movie leaders have been exposed to be.
In the early 1920's, Irving Berlin, Leo Feist and other officers of sevenmusic publishing corporations in New York, were charged with violating theSherman anti-Trust law in a suit brought by the United States Government.The defendants, it was alleged, controlled 80% of the available copyrightedsongs used by manufacturers of phonographs, player piano rolls and othermusical reproducing instruments, and fixed prices at which the records orrolls were to be sold to the public. The corporations involved in the actionwere 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 wasalleged to provide that the defendants would make contracts only throughthe Consolidated Music Corporation which they had organized. The other 20% of the song business was controlled by other Jewish music houses not includedin that special group.
How The Jewish Song Trust Makes You Sing
Jews did not create the popular song; they debased it. The time of theentry of Jews into control of the popular song is the exact time when themorality of popular songs began to decline. The "popular" song,before it became a Jewish industry, was really popular. The people sangit and had no reason to conceal it. The popular song today is often so questionablea composition that performers with a vestige of decency must appraise theiraudience before they sing. Citizens of adult age will remember the stagesthrough which the popular song has passed during recent decades. War songspersisted after the Civil War and were gradually intermingled with songsof a later time, picturesque, romantic, clean. The same and similar songsand ballads had a brief revival during World War I. These were not the productof song-factories, but the creation of individuals whose gifts were givennatural expression. These individuals did not work for combines of publishersbut for the satisfaction of their work, for individual artists of the music-hallstage. There were no great fortunes made out of songs, but there were manysatisfactions in having pleased the public taste. The public taste, likeevery other taste, craves what it is given most to feed upon. Public tasteis public habit. The public is blind to the source of that upon which itlives, and it adjusts itself to the supply. Public taste is raised or loweredas 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 thrownthe mantle of contempt over all counter-active moral agencies - you canturn out nearly the kind of public you want. It takes just about a quarterof a century to do the job.
In other days the people sang as they do now, but not in such doped fashionnor with such bewildered continuity. They sang because they wished to, notas an uncontrolled habit. They sang songs nonsensical, sentimental, heroic,but the "shady" songs were outlawed. The old songs come readilyback 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 lastmonth - who knows its name? But there are songs of long ago whose titlesare familiar even to those who have not sung them. What margin did thesesongs leave for the suggestive and for the unwholesomely emotional? Sentimentwas not lacking, but it was unobjectionable sentiment. Then came the Jews;the popular song underwent a change. An entirely new crop of titles appeareddealing with an entirely different series of subjects than the songs theydisplaced Talented singers, tuneful singing vanished. The Jew and the Africanperiod, being the entrance of the jungle motif, the so-called "Congo"stuff, and other compositions which swiftly degenerated into a rather morebestial type than the beasts themselves arrive at. Running alongside thisswamp strain was the "ragtime" style of music which was a developmentof the legitimate Negro minstrelsy. Lyrics disappeared before the numerous"cake-walk" songs that deluged the public ear. Seductive syncopationswamped the harmony of the real song. Minstrelsy took on a new life; glamorousyouths mutter dirges in low monotones, voluptuous females with grossly seductivegestures moan nasal notes no real musician can recognize." Piano acts"were made the rage; "jazz bands" made their appearance. By insensiblegradations now easily traceable through the litter of songs with which recentdecades are strewn, we have been able to see the decline in the popularsong supply. Sentiment has been turned into sensuous suggestion. Romancehas been turned into eroticism. The popular musical lilt slid into ragtimeand ragtime has been superseded by jazz and crooning. Song topics becamelower and lower until at last they are the dredges of the slimy bottom ofthe 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 neededjust their touch of cleverness to camouflage the moral filth and raise ithalf a degree above that natural stage where it begets nothing but disgust.
In this business of making the people's songs the Jews have shown asusual, no originality but much adaptability - which is a charitable termused to cover plagiarism, which in its turn politely covers the crime ofmental pocket-picking. The Jews do not create; they take what others havedone, give it a clever twist, and exploit it. Plagiarism is the result ofmediocre artists being spurred on by non-artistic promoters to produce somethingthat can be dressed up with sufficient attractiveness to draw the public'smoney. The Jews bought up all the old song books, opera scores, collectionsof 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 findthey are woven on the motif and melody of the clean songs of the pre-swampera. The music jazzed and swung out of recognition, the sentiment sensualizedvery much, and pushed upon their smutty road across the world. Because ofabsolute Jewish control of the song market, both in publishing and in theatricalperformance, it is next to impossible for anything but a Jewish song tobe published in the United States, or if published, to get a hearing. Theproof of this is in the fact that the Yiddish trust owns all the businessand the so-called "song-hits" all bear Jewish names.
The insidiousness of the Jewish menace to our artistic integrity is duepartly to the speciousness, the superficial charm and oriental persuasivenessof Hebrew art, its glitter, its violently juxtaposed extremes of passion,its poignant eroticism and pessimism, and partly to the fact that the strainin us which might make head against it, the deepest, most fundamental strainin our nature is diluted and confused by a hundred other tendencies of theJewish age. The Anglo-Saxon group of qualities and the Anglo-Saxon pointof view, are the vital nucleus of the American temper. The Jewish dominationof our music threatens to submerge and stultify them at every point.
America does not sing what it likes, but what the vaudeville "song-pluggers"popularize by repeated renditions, until the flabby minds of the audiencesbegin to repeat it on the streets.
The "song-pluggers" of theater, vaudeville and radio, are thepaid agents of the Yiddish song agencies. Money, and not merit, dominatesthe spread of the moron music which is styled Jewish jazz and swing. Non-Jewishmusic is stigmatized as "highbrow." The people are fed from dayto day on the moron suggestiveness that flows in a slimy flood out of "Tin-PanAlley," the head factory of filth in New York which is populated bythe "Abies," the "Izzies," and the 'Moes" who makeup the composing staffs of the various institutions." Tin-Pan Alley"is the name given to the region in Twenty-eighth street, between Broadwayand Sixth Avenue, where the first Yiddish song manufacturers began business.Flocks of young girls who thought they could sing, and others who thoughtthey could write song poems, came to the neighborhood allured by the dishonestadvertisements that promised more than the budding Yiddish promoters couldfulfill. Needless to say, scandal became rampant, as it always does whenso-called "Gentile" girls are reduced to the necessity of seekingfavors from the Jew. It was the constant shouting of voices, the hilarityof "parties," the banging of pianos and the blaring of trombonesthat gave the district the name of "Tin-Pan Alley." All Americais now one great Tin-Pan Alley, its entertainment, its youth, its politics,a blare of moronic Judaism.
The diabolical cunning with which an unclean atmosphere is created andsustained through all classes of society and by the same influence, willnot 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 degradationof the non-Jewish public and the increase of Jewish fortunes.
Ministers, educators, reformers, parents, citizens are amazed at thegrowth of looseness among the people, and rail at the evil results. Theysee the evil product and they attack the product. They rail at the youngpeople who go in for this eroticism and suggestiveness. They deplore thesexual 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 bathedin sights, sounds and ideas of a certain character, drenched in them anddrowned in them, by systematic, deliberate, organized intent, the pointof attack should be the cause, not the effect.
Yet, that is precisely where the point of attack has not been made, presumablybecause 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 drinksand carouses. The population could be turned into drug addicts if the samefreedom was given to the illicit narcotic ring as is now given to the Yiddishpopular song manufacturers. In such a condition it would be stupid to attackthe addicts; common sense would urge the exposure of the panderers.
A dreadful narcotizing of moral modesty and the application of powerfulaphrodisiacs have been involved in the present craze for crooning songs- a stimulated craze. The victims are everywhere. But too few of the opponentsof this moral poison see the futility of scolding the young people thusdiseased.
Common sense dictates a cleaning out, and a clearing out, of the sourcesof the disease. The source is in the Yiddish group of song manufacturerswho control the whole output and who are responsible for the whole matterfrom 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 spontaneouspopularity, public taste is not so discriminating. It is artificial popularityby constant plugging. It is a mere mechanical drumming on the minds of thepublic. It is flung at them at every movie and from every stage. It is advertisedin flaring posters, gramophone records shriek forth day and night, dancebands plug it, radios plug it, and by sheer dint of repetition and suggestionthe song catches on - until it is replaced by another. It is the old gameof changing the styles to speed up business and make the people buy. Nothinglasts in the Yiddish game - styles of clothing, movies nor songs; it isalways something "new" to stimulate the flow of money from thepopular 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 moralmiasma in the country, or if not the most active, then neck and neck withthe "movies"; second, that the "popular" song industryis an excessively Jewish industry.
There is work here for the Anti-Defamation League! That League knowshow to put the screws on anyone who disparages the Jews ! From importantpublishers down to inconsequential country newspapers, the Anti-DefamationLeague makes itself felt. There is work for it in the movies and the theaterand popular song industries. Why does not the League put the screws on thoseJews who have degenerated the movies and debauched the people in their "arts,"sports, and entertainments? On those who have brought shame on the racialname? Why not? Is the answer that only non-Jews are to be controlled, andJews let to run loose? Is the answer that the gentle Gentiles can be curbedas by bridle and bit and the Jews cannot? American Jewry is desperatelyafraid of opening a single seam in its armor by means of a single investigationor reform. They are afraid of how far the fire of correction may spread!
"To prevent them from really thinking out anything themselves, weshall deflect their attention to amusements, games, pastimes, excitementsand people's palaces. Such intends will distract their minds completelyfrom questions on which we might be obliged to struggle with them. Becomingless and less accustomed to independent thinking, people will express themselvesin unison with us because we alone offer new lines of thought - of coursethrough persons whom they do not consider as in any way connected with us."
- The Thirteenth Protocol.
Chapter12 - "Liquor, Gambling, Vice and Corruption"
EntireTable of Contents of "The International Jew" by Henry Ford - ChapterNumber & Title Listed
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