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"These 'wars' are a hoax
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"Alien"
What the American Founders Really Meant by the Word
"Alien" "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
Two organizations,
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
"Anti-Semitism"
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Many
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
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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.
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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 streets.
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 !