Running alongside all this was the “ragtime” style of music which was a legitimate development of Negro minstrelsy. Lyrics practically disappeared before the numerous “cake walk” songs that deluged the public ear. “There’ll Be a Hot Time in the Old Town Tonight”—the marching song of the Spanish-American War, belongs to that period. The “black and tan” resorts of the South began to reign over the nation’s music both North and South. Seductive syncopation captured the public ear. The term, “ma baby,” brought in on the flood of Negro melody has remained in uncultivated musical speech ever since. Minstrelsy took on new life. “Piano acts” made their appearance. “Jazz bands” were the rage. By insensible gradations, now easily traceable through the litter of songs with which recent decades are strewn, we have been able to see the gradual decline in the popular song supply. Sentiment has been turned into sensuous suggestion. Romance has been turned into eroticism. The popular lilt slid into ragtime, and ragtime has been superseded by jazz. Song topics became lower and lower until at last they were dredges of the slimy bottom of the underworld. The first self-styled “King of Jazz” was a Jew named “Frisco.” The general directors of the whole downward trend have been Jews. It needed just their touch of cleverness to camouflage the moral filth and raise it half a degree above that natural stage where it begets nothing but disgust. They cannot gild the lily, but they can veil the skunk-cabbage, and that is exactly what has been done. The modern popular song is a whited sepulcher, sparkling without, but within full of the dead bones of all the old disgusting indecencies. Plain print returns them to their rightful status of disgust. We are now in the period of “The Vamp”—that great modern goddess upon whom tens of thousands of silly girls are modeling themselves—“The Vamp.” The original “vamp” is to be found in a forbidden French novel upon which Morris Gest founded his grossly immoral spectacle called “Aphrodite.” In the Jewish popular song and the Jewish motion picture film a unity has at last been reached in “The Vamp.” The vamp heroine and the harem scene—a fitting climax! There is work here for the Anti-Defamation League. That league knows how to put the screws on anyone who disparages the Jews. From important New York publishers, down to inconsequential country newspapers, the Anti-Defamation League makes its power felt. There is work for it in the movies and the popular song industry. Why does not the league put the screws on those Jews who have degenerated the movies and debauched the popular song movement and thus brought shame upon the racial name? Why not? Is it possible that only the non-Jews are to be controlled, and Jews let to run loose? Is it possible that “Gentiles” can be curbed as by bridle and bit and that Jews cannot? It is repeated: there is work for the Anti-Defamation League among the Jews.