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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, gi ve it a clever twist, and exploit it. Plagiarism is the result

of mediocre artists being spurred on by non-artistic promoters to produce

something that can be dressed up wi th 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 publishing and in theatrical performance, it is next to impossible

for anything but a Jewish song to be published in the Unit~d 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 Anglo-Saxon 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.

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 formai mod~sty and the application of

powerful aphrodisiacs have been involved in the present craze for

crwning songs-a stimulated craze. The victim.s 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 is 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 song; 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