JEWISH JAZZ BECOMES OUR NATIONAL MUSIC 67
perhaps in our mixed nature, is diluted and confused by a hundred other tendencies.
"The Anglo-Saxon group of qualities, the Anglo-Saxon point of view, even though they are so thoroughly disguised, in a people descended from every race, that we easily forget them, and it is not safe to predicate them of any individual American, are nevertheless the vital nucleus of the American temper. And the Jewish domination of our music, even more than the Teutonic and the Gallic, threatens to submerge and stultify them at every point."
"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 and the succeeding article to put Americans in full possession of the truth concerning the moron music which they habitually hum and sing and shout day by day, 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 the American motion picture have fallen under the influence and control of the Jews and their art-destroying commercialism, so the business of handling "popular songs" has become a Yiddish industry.
Its leaders are for the most part Russian-born Jews, some of whom have personal pasts which are just as unsavory as THE DEARBORN INDEPENDENT has shown the pasts of certain Jewish theatrical and movie leaders to be.
The country does not sing what it likes, but what the vaudeville "song pluggers" popularize by repeated renditions on the stage, until the flabby mind of the "ten-twent'-thirf " audiences begin to repeat it on the streets. These "song pluggers" are the paid agents of the Yiddish song agencies. Money, and not merit, dominates the spread of the moron music which is styled "Jewish Jazz." Of the business details, however, more later.
Tin Pan Alley, so-called because it constitutes a
