The reason for the spread of this peculiar kind of dishonesty is to be found in the Jewish policy of “speeding up business.” Ordinarily one play a week, and one or two new songs a season, was the limit of indulgence. But with the coming of the movies 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 worth—no; 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 typical Jewish pictures, however; but the modern crop of popular songs, never! The terms “production” and “service” do not belong to the popular song industry at all, but the term “salesmanship” does, as the reader will presently see. It is well to remember that where there is only “salesmanship” without the other two qualities, the public is always the sufferer. “Popularity,” when interpreted by the Jews who manufacture jazz for the United States, means “familiarity,” that’s all. The theory is that a song need not possess merit as regards words or music to be successful. _It can be “popularized” artificially by constant repetition_, until it becomes familiarized to the public ear, and thus familiarized it becomes “successful.”