These methods are subject to variation, of course. There was a great deal of “cutting” until the right Hebrew group survived, and then there was a great deal of “trust” method adopted. The Music Publishers’ Association was organized by “Sime” Silberman and Maurice Goodman, and now all the Jewish song manufacturers are included in it. The organization has not changed any of the methods before used but has curtailed the expense. Moreover, it has served to relieve the public to this extent, that, instead of clinging to the one song paid for until the public positively gags on it, the vaudeville or movie performers now sing impartially the various songs of the various publishers forming the trust. More variety has been introduced, that is all. The same old commercialization continues. As readers of the studies of Jewish theatrical control, which appeared in this paper, will readily understand, the Jewish control of the popular song field means that all non-Jews are barred out. It would be next to impossible for the song of a non-Jew, however meritorious, to reach the public by the usual channels. The musical magazines, the musical critics, the musical managers, the music publishers, the music-hall owners, the majority of the performers are not only all Jews, but are Jews consciously banded together to keep out all others. The dishonest methods practiced by the Yiddish controllers of this field have been such as to move the _Billboard_, the leading vaudeville publication, to refuse to print advertisements calling for song poems. Perhaps the reader has seen such advertisements, suggesting that someone has a tune or a song-poem that will probably make a fortune if only sent to an address on Broadway or in the region of Tin Pan Alley. The _Billboard_ says: “No More Song Poem Ads Accepted. “After investigating the business methods practiced by some Song Poem advertisers, the _Billboard_ believes it to be to the best interest of its readers to eliminate the heading, ‘Music and Words’ under which Song Poem advertisements appeared, and hereafter, or until existing conditions are changed, the _Billboard_ will not accept any more Song Poem advertising from any concern or person....” Everywhere the “popular song” has been attacked by keen observers of social tendencies—but the attack has not been made intelligently. No public menace like this can be abolished without showing the public the source of it. Newspapers are now beginning to attack “jazz,” “the vicious movies,” “the disgraceful dance.” Others attack the young folk who sing jazz, the people who patronize the objectionable movies, the throngs who indulge in indecent dancing. But all the time a small group of men are deliberately and systematically forcing jazz and movies and dances upon the country, spending hundreds of thousands in the effort and reaping millions of profits.