I'm watching the Burns documentary about Jazz so I've been reading alternative opinions to the idea that all these genres were invented by negroes. This is an interesting article about the jewish manipulation and push for each style of music pushed out as a product. Here is an excerpt:
Jazz Music
Jazz music in particular was dominated by Jewish artists to the extent that almost all famous jazz musicians of its time were Jews. The Jewish Tin Pan Alley monopoly of the music business was solid for decades. As H.F. Mooney notes:
"By 1941, the virtual monopoly of the ASCAP (American Society of Composers Authors, and Publishers, organized in 1914), which had practically protected New York's ascendancy in the music market, was broken by legal judgment. The consequent opening of broadcasting and recording channels to non-ASCAP composers and publishers, many of them unknowns outside the conventional musical establishment of Tin Pan Alley ... marked the end of an era of increasingly urbane New York composers. These had been heavily Jewish ... Such New York Jews as Harold Arlen, George and Ira Gershwin, Jerome Kern, Vernon Duke (ne Dukelsky), Herman Hupfeld and Vincent Youmans had produced a pensive music of finesse and polish, often using minor strains in the cantorial tradition. Their melodic concepts influenced 'white' jazz instrumentalists -- themselves frequently Jewish -- flowing with increasing facility through plaintive but delicately restrained saxophones from Benny Kreuger in the early 1920s through Frank Trumbaujer to Stan Getz; and through the arabesque clarinets of Benny Goodman and Artie Shaw." [MOONEY, H. F., 1972, p p. 258-259] [9]
Jews were also prominent in the overseeing of the Black community's jazz life, including the control of musical clubs in Black neighborhoods in a variety of American cities. "The invasion of the Black community by organized crime lords with connections to downtown money," notes Ted Vincent, "was certainly the most sensational contribution to the loss of Black oversight of neighborhood dance halls and theatres." [VINCENT, p. 176] [10]
In addition, we have the "closet Jews", meaning those who have changed their names to hide their Jewish origins for different reasons. However, if the last name does not appear to be Jewish, the first name may be a clue; names such as David, Jakob, Samuel, Joseph etc. It is not that Jewish artists are a majority in the Industry, but there is an overwhelming number of them in top positions, where they can influence an enormous amount of people, and those who are not Jewish have to adjust to Jewish laws and regulations, and also be prepared to be screwed, as we shall see.
I'm watching the Burns documentary about Jazz so I've been reading alternative opinions to the idea that all these genres were invented by negroes. This is an interesting article about the jewish manipulation and push for each style of music pushed out as a product. Here is an excerpt:
**Jazz Music**
Jazz music in particular was dominated by Jewish artists to the extent that almost all famous jazz musicians of its time were Jews. The Jewish Tin Pan Alley monopoly of the music business was solid for decades. As H.F. Mooney notes:
"By 1941, the virtual monopoly of the ASCAP (American Society of Composers Authors, and Publishers, organized in 1914), which had practically protected New York's ascendancy in the music market, was broken by legal judgment. The consequent opening of broadcasting and recording channels to non-ASCAP composers and publishers, many of them unknowns outside the conventional musical establishment of Tin Pan Alley ... marked the end of an era of increasingly urbane New York composers. These had been heavily Jewish ... Such New York Jews as Harold Arlen, George and Ira Gershwin, Jerome Kern, Vernon Duke (ne Dukelsky), Herman Hupfeld and Vincent Youmans had produced a pensive music of finesse and polish, often using minor strains in the cantorial tradition. Their melodic concepts influenced 'white' jazz instrumentalists -- themselves frequently Jewish -- flowing with increasing facility through plaintive but delicately restrained saxophones from Benny Kreuger in the early 1920s through Frank Trumbaujer to Stan Getz; and through the arabesque clarinets of Benny Goodman and Artie Shaw." [MOONEY, H. F., 1972, p p. 258-259] [9]
Jews were also prominent in the overseeing of the Black community's jazz life, including the control of musical clubs in Black neighborhoods in a variety of American cities. "The invasion of the Black community by organized crime lords with connections to downtown money," notes Ted Vincent, "was certainly the most sensational contribution to the loss of Black oversight of neighborhood dance halls and theatres." [VINCENT, p. 176] [10]
In addition, we have the "closet Jews", meaning those who have changed their names to hide their Jewish origins for different reasons. However, if the last name does not appear to be Jewish, the first name may be a clue; names such as David, Jakob, Samuel, Joseph etc. It is not that Jewish artists are a majority in the Industry, but there is an overwhelming number of them in top positions, where they can influence an enormous amount of people, and those who are not Jewish have to adjust to Jewish laws and regulations, and also be prepared to be screwed, as we shall see.
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