there need be no doubt. “Rosie” played the piano and by songs and antics beguiled the tedium of the royal journey. Well, young men of “Rosie’s” sort are quite useful in advertising to select circles the latest product of the Yiddish song factories and they are, of course, regularly utilized for that purpose.
Orchestras, especially those of restaurants and dance halls, are worked in the same way.
Get as many people singing and playing introductory renditions as you can: that is the method of gaining an artificial popularity by constant repetition.
The chances are that the song you are humming today is being hummed by you simply because you have perforce heard it so often that it beats unconsciously within your brain.
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