How Jewish Jazz Became Our National Music

Discussion in 'Politics' started by StockRanger, May 31, 2007.

  1. Jewish Jazz Becomes Our National Music
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    About a year ago the following article appeared in the New York Times, a newspaper that has never been accused of anti-Semitism, and whose proprietor is one of the best-known Jews in the United States:

    “Irving Berlin, Leo Feist and other officers of seven music publishing corporations in this city were charged with violating the Sherman anti-trust law in an equity suit begun yesterday in Federal District Court by the United States Government. The defendants, it was alleged, controlled 80 per cent 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, 144 West Thirty-seventh street; Irving Berlin, Inc., 1567 Broadway; Leo Feist, Inc., 231 West Fortieth street; T. B. Harms, Francis, Day and Hunter, Inc., 62 West Forty-fifth street; Shapiro, Bernstein & Company, 218 West Forty-seventh street; Watterson, Berlin & Snyder, Inc., 1571 Broadway, and M. Witmark & Sons, Inc., 144 West Thirty-seventh street.

    “The agreement which the government seeks to dissolve is alleged to provide that the defendant would make contracts only through the Consolidated Music Corporation which they had organized . . . .”

    Many people have wondered whence come the waves upon waves of musical slush that invade decent parlors and set the young people of this generation imitating the drivel of morons. A clue to the answer is in the above clipping. Popular Music is a Jewish monopoly. Jazz is a Jewish creation. The mush, the 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 cave love are camouflaged by a few feverish notes and admitted to homes where the thing itself, unaided by the piano, would be stamped out in horror. Girls and boys a little while ago were inquiring who paid Mrs. Rip Van Winkle’s rent while Mr. Rip Van Winkle was away. In decent parlors the fluttering music sheets disclosed expressions taken directly from the cesspools of modern capitals, to be made the daily slang, the thoughtlessly hummed remarks of high school boys and girls.

    The United States Government alleged, in the above complaint, that 80 per cent of these popular songs was under the control of the seven Jewish houses named above; and the other 20 per cent controlled by other Jewish music houses not included in that special group.

    It is rather surprising, is it not, 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. Absolutely dominating the wireless communications of the world—a group of Jews. In the menace of the Movies—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 of Christian laws and customs—Jews. And now, 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.

    The American people have been urged and chided and shamed into the beginning of a rather generous popular support of music in this country, and the first thing they see for their money is that Jewish artists supplant the non-Jewish artists, and use the prestige of their membership in symphony orchestras to work various small business schemes of their own. If they were superior artists, nothing against it could be said, but they are not superior artists; they are only better known and racially favored in Jewish musical circles.

    That, however, is a big subject. It will receive attention in its turn. Just now it is the “popular song” that is being considered. However, as something which true lovers and knowers of music may meditate upon in view of future studies of Jewish influence in music, this observation is offered (the italics are ours):