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’-thirt’” 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 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.