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:
“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.
If these men were non-Jews, a multitude of fingers would be pointed toward them in identification and denunciation.
Because these men are Jews, they are allowed to go free.