JEWISH JAZZ BECOMES OUR NATIONAL MUSIC 65
tion 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. Eip 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 to 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, with-
