HOW THE JEWISH SONG TRUST MAKES* YOU SING 81
the "one play a week" plan has been smashed to
smithereens. To get the people to pay their money
every day, the programs are changed every day ; and
to get new plays every day, something must be
cheapened. So with songs. The output is rushed
to increase the income of money, and quality is sacrificed all round. There are not enough good songs
in the world to supply a new one every week; not
enough good plays in the world to supply a new
movie every day; and so, what the songs and
plays lack in worth, they make up in nastiness.
In brief, nastiness is the constant quality on
which the producers depend to "put across" mediocre
songs and" otherwise pointless plays. Nastiness is
the condiment that goes with cheapness in songs and
movies.
Plagiarism is the result of mediocre artists being spurred on by non-artistic promoters to produce something that can be dressed up with sufficient attractiveness to draw the public's money. But even plagiarism requires a little brains mixed with it, and when the rush of demand overwhelms the available brains, the lack is covered up by an elaborate covering of sensualism.
Men who are on the inside of the popular song business, and certain court records, all testify to the exact truth of these statements.
"But how do the Jews do it ?" is a question often asked. The answer is, not public demand, nor artistic merit, nor musical ingenuity, nor poetic worthno ; the answer is simple salesmanship. The public doesn't choose, the public simply takes what is persistently thrust upon it. It is a system impossible to any other race but the Jews, for there is no other race that centers its whole interest on the sale. There is no other race that makes so startling a choice in favor of "getting" money to the exclusion of "making" money. Who for a moment would think seriously of using the terms "production" and "service" with reference to popular songs or motion pictures? Motion pictures in their higher reaches might have some claim on those terms not the
