Jewish influences in American life : $b volume III of the International Jew, the world's foremost problem : being a reprint of a third selection from articles appearing in the Dearborn IndependentFord, Henry
Religion
Jewish influences in American life : $b volume III of the International Jew, the world's foremost problem : being a reprint of a third selection from articles appearing in the Dearborn Independent
Ford, Henry
Antisemitic literature; Jews -- United States; United States -- Ethnic relations
But there is no _popularity_. Take any moron music addict you know and
ask him what was the “popular” song three weeks ago, and he will not be
able to tell. These songs are so lacking in all that the term “popular”
means as regards their acceptableness, that they die overnight,
unregretted. Directly the Yiddish manufacturers have another “hit” to
make (it is always the public that is “hit”) a new song is crammed down
the public gullet, and because it is the “latest,” and because the
Yiddish advertisements say that it is a “hit,” and because the hired
“pluggers” say that everybody is singing it, that song too becomes
“popular” for its brief period, and so on through the year. It is the
old game of “changing the styles” to speed up business and make the
people buy. Nothing lasts in the Yiddish game—styles of clothing, movies
nor songs; it is always something new, to stimulate the flow of money
from the popular pocket into the moron music makers’ coffers.
There hasn’t been a real “popular” song of Yiddish origin since the
Jewish whistlers and back-alley songsters of New York’s East Side
undertook to handle musical America—not one, unless we except in genuine
gratitude George Cohan’s “Over There”, a song which came out of a period
of strain and went straight to the people’s heart.
Two facts about the “popular song” are known to all: first, that for the
most part it is indecent and the most active agent of moral miasma in
the country, or if not the most active, then neck and neck with the
“movies”; second, that the “popular song” industry is an exclusively
Jewish industry. But the inside story of the operation of this control
of the people’s music presents other facts which the people ought to
know, and these additional facts will appear in another article.
——
Issue of August 6, 1921.
XLVIII.
How the Jewish Song Trust Makes You Sing
Jews did not create the popular song; they debased it. The time of the
entry of Jews into control of the popular song is the exact time when
the morality of popular songs began to decline. It is not a pleasant
statement to make, but it is a fact. It would seem to be a fact of which
American Jews ought to take solemn cognizance, not to anathematize those
who do service by exposing the fact, but to curb that group of Jews who,
in this instance, as do other groups of Jews in other instances, bring a
stain upon the Jewish name.
Public-domain text, read in full here on John Shaqi.
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