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114 The International jew

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

unwholesomely emotional? Sentiment ~as 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 "cak~-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ragtime has been superseded by jazz and crooning.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

114 The International jew

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

unwholesomely emotional? Sentiment ~as 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 "cak~-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

>>16368361

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.