68 THE INTERNATIONAL JEW
group of "song shops," is populated by the "Abies" and "Izzies" and "Moes" who make up the composing staffs of the various institutions.
In this business of making the people's songs, the Jews have shown, as usual, no originality but very 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, give it a clever twist, and exploit it. They have bought up all the old hymn books, opera scores and collections of folk songs, and if you stop to analyze some of the biggest "hits" of the Yiddish song manufacturers, you will find they are woven on the motif and the melody of the clean songs of the last generation ; the music jazzed a little, the sentiment sensualized very much, and set upon their smutty road, across the country.
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 United States or, if published, to get a hearing. The proof of this is in the fact that the Yiddish trust owns the business and the so-called "song hits" all bear Jewish names.
A typical incident occurred in New York recently. A non-Jewish song composer had produced work of such commanding merit that musical sentiment demanded its public rendition. Jewish manager after Jewish manager was approached, but the combination was unbreakable. Finally, one New Yorker talked out and said something about "Jewish combine," which had its effect. A Jewish manager protested that he would be glad to give the work to the public. Rehearsals were held and the night of presentation arrived. The first number was a solo and a Jew appeared to sing it. He could not pronounce English words. He sang through his nose. He was most Yiddish in appearance, the long nose, with narrow, sloping forehead, curly hair. The second number was a duet, and behold two Jews appeared,
