"These 'wars' are a hoax
designed to enrich the US armaments industry and to infuse the 'security
forces' with police powers
What the American Founders Really Meant by the Word
"Keep them out of banking, out of education, out of government.
... Out of banking and they cannot control the economic life of the community.
... Out of education and they cannot pervert the
minds of the young to their subversive doctrines
How the Jews Use Power
both of which are as notable for their concealment as for their
power, are the New York Kehillah and the American Jewish
Committee. The Kehillah is the most potent factor in the
political life of New York; it is the organization which today
wields so large an influence on the rest of the world, which
consciously issues a program which on one side is pro-Jewish and
on the other anti-Gentile. It is the central group, the inner
government, whose ruling is law and whose act is the official
expression of Jewish purpose. It offers a real and complete
instance of a government within a government in the midst of
America's largest and politically most powerful city, and it
also constitutes the machine through which pro-Jewish and
anti-Gentile propaganda is operated and Jewish pressure brought
to bear against certain American ideas. That is to say, the
Jewish government of New York constitutes the essential part of
the Jewish Government of the United States.
"A central organization like that of the Jewish community of New York City is necessary to create a Jewish public opinion," he said.
Rabbi Asher was loudly applauded when he said:
"American interests are one, Jewish interests are another thing."
The delegates at the first open meeting in 1906 represented 222 Jewish societies - religious, political, industrial and communal. Just over a year later the number of Jewish organizations under the jurisdiction of the Kehillah aggregated 688, and in 1921 well over 1,000. When the aggressive program of the Kehillah to make New York a Jewish city, and through New York to make the United States a Jewish country was announced some of the more conservative Jews of New York were timorous. They did not expect that the American people would stand for it. They thought the American people would immediately understand what was afoot and oppose it. There were others who doubted whether the same Kehillah authority could here be wielded over the Jews as was wielded in the old country ghettos. An official of the Kehillah wrote:
"There were those who doubted the ultimate success of this new venture in Jewish organization. They based their lack of belief on the fact that no governmental authority could possibly be secured; in other words, that the Kehillah of New York could not hope to wield the same power, based on governmental coercion, as the Kehillahs of the Old World."
There is much in this paragraph to indicate the status of the
Kehillah in Jewish life. Add to this fact that all the Jews who
entered America lived under the Kehillahs of the old world,
whose power was based on
coercion, and the situation is simple. Regimentation, the
destruction of individual liberty which has risen to curse the
world, is the basic principle of Jewish government of the Jews,
by the Jews.
EDITOR'S NOTE: *The Kehillah has now expanded its work and influence internationally in the powerful organization known as the "World Jewish Congress."
"At first, by controlling the banking system we were able to control corporation capital. Through this, we acquired total monopoly of the movie industry, the radio networks and the newly developing television media. The printing industry, newspapers, periodicals and technical journals had already fallen into our hands. The richest plum was later to come when we took over the publication of all school materials. Through these vehicles we could mould public opinion to suite our own purposes. The people are only stupid pigs that grunt and squeal the chants we give them, whether they be truth or lies" — Harold Wallace Rosenthal
They Know How to Wield the Dark Power and Use It —
Deception, Lies, Gossip, Fraud, BS, False Flags, Trickery, Inversion, Reversals,
Moral Degradation and Corruption of Ideas
What rights have Americans that Jews in America do not possess?
Against whom are the Jews organized and against what? What basis
is there for the cry of "persecution"? None whatever, except the
Jews' own consciousness that the course they are pursuing is due
for a check. The Jews always know that. They are not in the
stream of the world, and every little while the world finds out
what Judah always knows.
The program of the Kehillah was ostensibly to "assert Jewish
rights." No Jewish rights have ever been interfered with in
America. The expression was a euphemism for a campaign to
interfere with non-Jewish rights.
It is an exclusively Jewish program. The Charter of the Kehillah empowered it, among other things, to establish an educational bureau, to adjust differences between Jewish residents or organizations by arbitration or by means of boards of mediation or conciliation; while the Constitution announces the purpose to be:
"To further the cause of Judaism in New York City and to represent the Jews in this city with respect to all local matters of Jewish interest."
Where the American Jewish Committee and the Kehillah join forces is shown as follows:
Committee was a national organization, the Jewish Community (Kehillah), of New York City, if combined with it, would have a voice in shaping the policy of Jewry throughout the land. It is expressly understood that the American Jewish Committee shall have exclusive jurisdiction over all questions of a national or International character affecting the Jews generally."
It will be seen, therefore, that the Kehillah and the American
Jewish Committee are one. The capital of the United States, in
Jewish affairs, is New York. Perhaps that may throw a sidelight
on the efforts which are constantly made to exalt New York as
the spring and source of all the thoughts of the day. (Editor's
Note: and now the seat of the United Nations system of world
government)! New York, the
Jewish capital of the United States, has been made the financial
center, the art center, the political center of the country. But
its art is oriental sensuousness, its politics those of a
Judaized Tammany. It is the home of anti-American propaganda, of
pro-Jewish hysteria, a mad confusion of mind that now passes all
over the world as the true picture of America.
The doctrine with which so large a mass as the citizens of America have been inoculated is making havoc with the whole American program today. It is "broadening" America out of all semblance to its distinctive self and blurring out of recognition those determining ideals and ideas on which American institutions were based.
"Jewish Rights" Clash with American Rights
This study of the Jewish
Question in the United States is not based upon religious
differences. The religious element does not enter except when it
is injected by the Jews themselves; they persistently inject it
in three ways: First, in their allegation that any study of the
Jews is "religious persecution"; second, by their own records of
what their activities in the United States consist of; third, by
the impression which is very misleading if not corrected, that
the Jews are the Old Testament people. The Jews are not the Old
Testament people and the Old Testament can be found among them
only with difficulty.
They are a Talmudical people who have preferred the volumes of
rabbinical speculation to the words of the ancient prophets.
Attacks on Christianity
Previous to the formation of
the Kehillah and the Jewish Committee, this sort of attack on
the rights of Americans was sporadic, but since 1906 it has
increased in number and insistence. Under cover of the ideal of
Liberty we have given the Jews liberty to attack Liberty.
What America has been tolerating is intolerance itself. Let us
look rapidly down the years and see one phase of that attack. It
is the attack upon Christianity. Here are a few items
from the record. They are recorded over a period of years
following the rise of Jewish power in America:
The Cry of
people have wondered whence come the waves upon waves of musical
slush that invade decent homes and set the young people of this
generation imitating the drivel of morons. Popular music is a
Jewish monopoly. Jazz is a Jewish creation. The mush, slush,
the sly suggestion, the abandoned sensuousness of sliding notes,
are of Jewish origin.
Monkey talk, jungle squeals, grunts and squeaks and gasps suggestive of calf love are camouflaged by a few feverish notes and admitted in homes where the thing itself, unaided by scanned music," would be stamped out in horror. The fluttering music sheets disclose expressions taken directly from the cesspools of modern capitals, to be made the daily slang, the thoughtlessly hummed remarks of school boys and girls.
Is it surprising that whichever way you turn to trace the harmful streams of influence that flow through society, you come upon a group of Jews? In baseball corruption - a group of Jews. In exploitative finance - a group of Jews. In theatrical degeneracy - a group of Jews. In liquor propaganda - a group of Jews. In control of national war policies - a group of Jews. In control of the Press through business and financial pressure - a group of Jews. War profiteers, 80 per cent of them - Jews. Organizers of active opposition to Christian laws and customs - Jews.
In this miasma of so-called popular music, which combines weak-mindedness with every suggestion of lewdness - again Jews.
The Jewish influence on American music is without doubt regarded as serious by those who know anything about it. Not only is there a growing protest against the Judaization of our few great orchestras, but there is a strong reaction from the racial collusion which fills the concert stage and popular platform with Jewish artists to the exclusion of all others. If they were superior artists, nothing against it could be said; they are only better known and racially favored in Jewish musical circles.
"Let me make a nation's songs and I care not who makes the laws," said one; in this country the Jews have had a very large hand in making both. It is the purpose of this article to put people in possession of the truth concerning the moron music which they habitually hum and sing and shout day and night, and if possible to help them to see the invisible Jewish baton which is waved above them for financial and propaganda purposes. Just as the American stage and motion picture have fallen under the control of Jews and their art-destroying commercialism, so the business of handling "popular songs" has become a Yiddish industry. The Jews who captured it in the early days of exploitation were for the most part Russian-born Jews, some of whom had personal pasts which were as unsavory as the past of many Jewish theatrical and movie leaders have been exposed to be.
In the early 1920's, Irving Berlin, Leo Feist and other officers of seven music publishing corporations in New York, were charged with violating the Sherman anti-Trust law in a suit brought by the United States Government. The defendants, it was alleged, controlled 80% of the available copyrighted songs used by manufacturers of phonographs, player piano rolls and other musical reproducing instruments, and fixed prices at which the records or rolls were to be sold to the public. The corporations involved in the action were the Consolidated Music Corporation; Irving Berlin, Inc.; Francis, Day and Hunter, Inc.; Shapiro, Bernstein & Co.; Watterson, Berlin & Snyder, Inc.; and M. Witmark & Sons, Inc. - all of New York. The agreement which the United States Government sought to dissolve was alleged to provide that the defendants would make contracts only through the Consolidated Music Corporation which they had organized. The other 20% of the song business was controlled by other Jewish music houses not included in that special group.
How the Jewish Song Trust Makes You Sing
Jews did not create the popular song; they
debased it. The time of
the entry of Jews into control of the popular song is the exact
time when the morality of popular songs began to decline.
The "popular" song, before it became a Jewish industry, was
really popular. The people sang it and had no reason to conceal
it. The popular song today is often so questionable a
composition that performers with a vestige of decency must
appraise their audience before they sing. Citizens of adult age
will remember the stages through which the popular song has
passed during recent decades. War songs persisted after the
Civil War and were gradually intermingled with songs of a later
time, picturesque, romantic, clean. The same and similar songs
and ballads had a brief revival during World War I. These were
not the product of song-factories, but the creation of
individuals whose gifts were given natural expression. These
individuals did not work for combines of publishers but for the
satisfaction of their work, for individual artists of the
music-hall stage. There were no great fortunes made out of
songs, but there were many satisfactions in having pleased the
public taste. The public
taste, like every other taste, craves what it is given most to
feed upon. Public taste is public habit. The public is blind to
the source of that upon which it lives, and it adjusts itself to
the supply. Public taste is raised or lowered as the quality of
its pabulum improves or degenerates.
In a quarter of a century, given all the avenues of publicity like theater, movie, popular song, newspapers and radio - in the meantime having thrown the mantle of contempt over all counter-active moral agencies - you can turn out nearly the kind of public you want. It takes just about a quarter of a century to do the job.
In other days the people sang as they do now, but not in such doped fashion nor with such bewildered continuity. They sang because they wished to, not as an uncontrolled habit. They sang songs nonsensical, sentimental, heroic, but the "shady" songs were outlawed. The old songs come readily back to memory. Though years have intervened since they were the fashion, yet their quality was such that they do not die. The popular song of last month - who knows its name? But there are songs of long ago whose titles are familiar even to those who have not sung them. What margin did these songs leave for the suggestive and for the unwholesomely emotional? Sentiment was not lacking, but it was unobjectionable sentiment. Then came the Jews; the popular song underwent a change. An entirely new crop of titles appeared dealing with an entirely different series of subjects than the songs they displaced. Talented singers, tuneful singing vanished. The Jew and the African period, being the entrance of the jungle motif, the so-called "Congo" stuff, and other compositions which swiftly degenerated into a rather more bestial type than the beasts themselves arrive at. Running alongside this swamp strain was the "ragtime" style of music which was a development of the legitimate Negro minstrelsy. Lyrics disappeared before the numerous "cake-walk" songs that deluged the public ear. Seductive syncopation swamped the harmony of the real song. Minstrelsy took on a new life; glamorous youths mutter dirges in low monotones, voluptuous females with grossly seductive gestures moan nasal notes no real musician can recognize. "Piano acts" were made the rage; "jazz bands" made their appearance. By insensible gradations now easily traceable through the litter of songs with which recent decades are strewn, we have been able to see the decline in the popular song supply. Sentiment has been turned into sensuous suggestion. Romance has been turned into eroticism. The popular musical lilt slid into ragtime and ragtime has been superseded by jazz and crooning. Song topics became lower and lower until at last they are the 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.
In this business of making the people's songs the
Jews have shown as usual, no originality but much adaptability -
which is a charitable term used to cover plagiarism, which in
its turn politely covers the crime of mental pocket-picking. The
Jews do not create; they take what others have done, give it a
clever twist, and exploit it. 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. The Jews bought up
all the old song books, opera scores, collections of folk songs,
and, if you stop to analyze some of the biggest "hits" of the
early days of the Yiddish song manufacturing Trust, you will
find they are woven on the motif and melody of the clean songs
of the pre-swamp era. The music jazzed and swung out of
recognition, the sentiment sensualized very much, and pushed
upon their smutty road across the world. Because of absolute
Jewish control of the song market, both in publishing and in
theatrical performance, it is next to impossible for anything
but a Jewish song to be published in the United States, or if
published, to get a hearing. The proof of this is in the fact
that the Yiddish trust owns all the business and the so-called
"song-hits" all bear Jewish names.
The insidiousness of the Jewish menace to our artistic integrity is due partly to the speciousness, the superficial charm and oriental persuasiveness of Hebrew art, its glitter, its violently juxtaposed extremes of passion, its poignant eroticism and pessimism, and partly to the fact that the strain in us which might make head against it, the deepest, most fundamental strain in our nature is diluted and confused by a hundred other tendencies of the Jewish age. The Anglo-Saxon group of qualities and the Anglo-Saxon point of view, are the vital nucleus of the American temper. The Jewish domination of our music threatens to submerge and stultify them at every point.
America does not sing what it likes, but what the
vaudeville "song-pluggers" popularize by repeated renditions,
until the flabby minds of the audiences begin to repeat it on
The "song-pluggers" of theater, vaudeville and radio, are the paid agents of the Yiddish song agencies. Money, and not merit, dominates the spread of the moron music which is styled Jewish jazz and swing. Non-Jewish music is stigmatized as "high-brow." The people are fed from day to day on the moron suggestiveness that flows in a slimy flood out of "Tin-Pan-Alley," the head factory of filth in New York which is populated by the "Abies," the "Izzies," and the 'Moes" who make up the composing staffs of the various institutions. "Tin-Pan-Alley" is the name given to the region in Twenty-eighth street, between Broadway and Sixth Avenue, where the first Yiddish song manufacturers began business. Flocks of young girls who thought they could sing, and others who thought they could write song poems, came to the neighborhood allured by the dishonest advertisements that promised more than the budding Yiddish promoters could fulfill. Needless to say, scandal became rampant, as it always does when so-called "Gentile" girls are reduced to the necessity of seeking favors from the Jew. It was the constant shouting of voices, the hilarity of "parties," the banging of pianos and the blaring of trombones that gave the district the name of "Tin-Pan-Alley." All America is now one great Tin-Pan-Alley, its entertainment, its youth, its politics, a blare of moronic Judaism.
The diabolical cunning with which an unclean atmosphere is created and sustained through all classes of society and by the same influence, will not be overlooked by any observer. There is something Satanic about it, something calculated with demonic shrewdness.
And the stream flows on and on, growing worse and worse, to the degradation of the non-Jewish public and the increase of Jewish fortunes.
Ministers, educators, reformers, parents, citizens are amazed at the growth of looseness among the people, and rail at the evil results. They see the evil product and they attack the product. They rail at the young people who go in for this eroticism and suggestiveness. They deplore the sexual license, the delinquency and the infantilism of the younger people. But all this has a source! Why not attack the source? When a nation is bathed in sights, sounds and ideas of a certain character, drenched in them and drowned in them, by systematic, deliberate, organized intent, the point of attack should be the cause, not the effect.
Yet, that is precisely where the point of attack has not been made, presumably because of lack of knowledge, possibly because of fear.
It is little use blaming the people. The people are what they are made. Give the liquor business full sway and you have a population that drinks and carouses. The population could be turned into drug addicts if the same freedom was given to the illicit narcotic ring as is now given to the Yiddish popular song manufacturers. In such a condition it would be stupid to attack the addicts; common sense would urge the exposure of the panderers.
A dreadful narcotizing of moral modesty and the application of powerful aphrodisiacs have been involved in the present craze for crooning songs - a stimulated craze. The victims are everywhere. But too few of the opponents of this moral poison see the futility of scolding the young people thus diseased.
Common sense dictates a cleaning out, and a clearing out, of the sources of the disease. The source is in the Yiddish group of song manufacturers who control the whole output and who are responsible for the whole matter from poetry to profits.
Next to the moral indictment against the
so-called "popular" song is the indictment that it is not
popular. There is no spontaneous popularity, public taste is
not so discriminating. It is artificial popularity by constant
plugging. It is a mere mechanical drumming on the minds of the
public. It is flung at them at every movie and from every stage.
It is advertised in flaring posters, gramophone records shriek
forth day and night, dance bands plug it, radios plug it, and by
sheer dint of repetition and suggestion the song catches on -
until it is replaced by another. It is the old game of changing
the styles to speed up business and make the people buy.
Nothing lasts in the
Yiddish game - styles of clothing, movies nor songs; it is
always something "new" to stimulate the flow of money from the
popular pocket into the moron music makers' coffers.
Two facts about the "popular" song are known to all: first, that for the most part it is indecent and the most active agent of moral miasma in the country, or if not the most active, then neck and neck with the "movies"; second, that the "popular" song industry is an exclusively Jewish industry.
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 publishers down to inconsequential country newspapers, the Anti-Defamation League makes itself felt. There is work for it in the movies and the theater and popular song industries. Why does not the League put the screws on those Jews who have degenerated the movies and debauched the people in their "arts," sports, and entertainments? On those who have brought shame on the racial name? Why not? Is the answer that only non-Jews are to be controlled, and Jews let to run loose? Is the answer that the gentle Gentiles can be curbed as by bridle and bit and the Jews cannot? American Jewry is desperately afraid of opening a single seam in its armour by means of a single investigation or reform. They are afraid of how far the fire of correction may spread !