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7/23/2025, 4:50:36 PM
>>511128430
https://vocaroo.com/1lUdadLGSkZe
It is rather surprising, is it not, 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. Absolutely dominating the wireless communications of the world—a group of Jews. In the menace of the Movies—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 of Christian laws and customs—Jews. And now, 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.
The American people have been urged and chided and shamed into the beginning of a rather generous popular support of music in this country, and the first thing they see for their money is that Jewish artists supplant the non-Jewish artists, and use the prestige of their membership in symphony orchestras to work various small business schemes of their own. If they were superior artists, nothing against it could be said, but they are not superior artists; they are only better known and racially favored in Jewish musical circles.
https://vocaroo.com/1lUdadLGSkZe
It is rather surprising, is it not, 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. Absolutely dominating the wireless communications of the world—a group of Jews. In the menace of the Movies—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 of Christian laws and customs—Jews. And now, 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.
The American people have been urged and chided and shamed into the beginning of a rather generous popular support of music in this country, and the first thing they see for their money is that Jewish artists supplant the non-Jewish artists, and use the prestige of their membership in symphony orchestras to work various small business schemes of their own. If they were superior artists, nothing against it could be said, but they are not superior artists; they are only better known and racially favored in Jewish musical circles.
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