XPost: alt.politics.democrat, alt.politics.republican, alt.revisionism   
   XPost: soc.culture.jewish   
   From: Po'is'me@I'savictim.net   
      
   The film "The Eternal Jew" did a lovely job of covering this.  I watch it   
   often.   
   >   
   >   
   >   
   "V"  wrote in message   
   news:WsGdnVb65oE3TyjVnZ2dnUVZ_ofinZ2d@comcast.com...   
   > JEWISH JAZZ BECOMES OUR NATIONAL MUSIC   
   >   
   >   
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   >   
   > How the Jewish Song Trust Makes You Sing . Plagiarism . Tin-Pan-Alley .   
   > Not So "Popular"   
   >   
   > 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   
      
   [continued in next message]   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)