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JEWISH JAZZ
BECOMES OUR NATIONAL MUSIC
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 exclusively 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 !
The Fourth Protocol --
"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." |
