Aspects of Jewish power in the United States — Text and Context

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Cameron, William John, 1879-1955, Ford, Henry, 1863-1947 Project Gutenberg 2025 Not confirmed
Jews -- United States; United States -- Ethnic relations; Antisemitic literature Readers of public-domain and historical texts
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Words 82,208
Reading time 358 min
Text sections 22

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This fourth volume of the International Jew series reprints Dearborn Independent articles alleging Jewish control of American theater, finance, and public opinion. The excerpts focus on the vaudeville hymn 'Eli, Eli' as a purported racial war cry, and include a preface defending the series' aims.
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whisky” had a much more respectable connotation than it has today. There was a time when to use whisky and even to make it, were customs sanctioned by the better class of public opinion.

It is a common explanation of the difference between _then_ and _now_, that people of the latter period became more sensitive morally than their forbears, that whereas the previous generation guzzled its whisky, innocently oblivious of the evil in it, the latter generation developed a stronger moral discrimination and banned the custom.

The truth is this: the people did not become better; _the whisky became worse_. When the entire story of the people’s justifiable indignation is written, the competent historian will trace along with the people’s rising disgust, the whisky’s decreasing quality.

Attention to this matter will materially assist an understanding of the fact that Jews and bootlegging are so continuously and prominently connected in the public prints these days.

Readers of the old romances know how proud the master was of his wines. Vintages ripened under certain skies, on certain hills, where certain waters flowed, with cellarage in certain soils, had a faculty of aging gracefully, mellowing to a smoothness and purity and desirableness that made for cheer and health without the alloy of sordid inebriety. The bouquet of wine, the perfected essence of the grape subjected to the further courses of nature, has been a theme of praise for centuries. If it were uttered today the source of the utterance would be suspected, and very probably with good reason, of being in pay of the “wets.” For the vile stuff which civilization threw out is not at all the wine of popular custom and century-long esteem.

Nevertheless, it is not difficult for even a modern to grasp the fact that there was an art in making wine and strong drink, in which art men took pride. That art required time, experience, a love of good quality.

It is a little difficult to speak of this art in connection with whisky—wine being a more poetic word—yet it is a matter of knowledge that three places in the world have devoted to the production of whisky the same spirit which France and Portugal devoted to their wines. These three districts are Glenlivet in Scotland, the region of Dublin in Ireland, and the Blue-Grass region of Kentucky. Why in these three regions? First, because there were men—non-Jews, of course—who were willing to wait ten years to produce a good article. Second, the waters of these regions are of a quality which is beautifully adapted to the making of pure goods. Pure whisky, it should be remembered, is a vegetable product matured by natural forces and no other. Grain, water and time—not even artificial heat added, nor any other thing—completes the best whisky product.

In older times in America there were men who were as choice of their whiskies as of their horses or books. There was then such a thing as quality. But there was no such thing as delirium tremens. That came later, with the disappearance of pure whisky. A distiller seldom grew rich—he was too engrossed in maintaining the quality of his product; and it consumed much time.

There were certain brands known nationally because of their mildness and purity—purest wine of the choicest grapes, aged in the best adapted cellars, was not more mild or pure. There are names that remain until this day—Pepper, Crow, Taylor, and others—the names of men who took time and pains, whose names became “brands” which guaranteed quality and purity. These men were distillers in the true sense, not manufacturers nor compounders, but _distillers_ in a time when distilling was both a science and an art, and not a mere name to conceal a gigantic fraud on the public.

In time to come, when the people’s justifiable moral indignation will permit a study of the steps by which the reputation of whisky came to its present low degree, they will see how much better it would have been, how much more efficacious and clarifying, if the attack on whisky had included an exposure of the men who had driven whisky out of the country and were selling rank poison as a substitute. The saloon, the brewer, the man who used strong drink were all of them made the target for attack; the Jews who demoralized the whole business went on collecting their enormous and illegitimate profits without so much as their identity being revealed.

The preface to this volume frames the work as a continuation of studies in the 'Jewish Question,' asserting that 'truth has made its way' and that 'cleansing must come from within Judah itself.' The author claims the articles were undertaken 'at a disadvantage' because of American emphasis on racial peace and the ease with which 'racial propagandists' turn economic matters into religious controversy. This defensive posture recurs throughout the excerpts, which blend cataloging of alleged Jewish influence with appeals to the reader's sense of fairness.

The Preface's Self-Justification

The preface, dated May 1922, presents the volume as a response to a public that has 'seen the truth of the statements' and 'observed the mild and unprejudiced manner in which they were made.' It claims that Jewish leaders themselves have shown 'signs that certain abuses must be quickly stopped,' citing an appeal to remove a liquor-law exemption and efforts to compel 'Jewish theatrical controllers to observe elementary decency.' These assertions are offered as evidence that the series' criticisms are valid and that reform is underway. The preface does not name specific leaders or provide sources for these claims, relying instead on general reference to 'a Jewish leader' and 'other Jewish leaders.'

The 'Eli, Eli' Article: Structure and Rhetoric

The excerpted article on the hymn 'Eli, Eli' exemplifies the volume's method: it identifies a cultural artifact, attributes its dissemination to a coordinated Jewish campaign, and interprets its meaning as hostile to non-Jews. The article states that the hymn is 'being used by Jewish vaudeville managers as their contribution to the pro-Jewish campaign' and that the notice 'By Request' is 'usually a bald lie'—actually 'By Order' from 'Jewish headquarters.' It describes the hymn as 'an incantation designed to inflame the lower classes of Jews' and 'the Marseillaise of Jewish solidarity.' The analysis relies on a translation provided by Kurt Schindler, who is cited as having 'adapted the Yiddish hymn to American use.' The article does not explain how Schindler's adaptation relates to the original or how the translation was verified.

Claims About Jewish Theatrical Control

The article extends its argument to the broader theater industry, asserting that 'the Jew-controlled theater is flinging into the faces of the public' pro-Jewish propaganda. It describes a scenario where 'two Jewish comedians' perform 'vulgar and often indecent antics' before singing 'Eli, Eli,' and claims that 'the Jewish element always betrays a high pitch of excitement' because they understand that 'the “Gentiles” are being flayed to their face, and they don’t know it.' The article further alleges that Yiddish comedians 'pour out shocking invectives on the name of Jesus Christ' and 'get away with it' while 'the “boob Gentiles”' laugh and applaud. These claims are presented without specific names, dates, or venues, and the article does not distinguish between different Jewish communities or theatrical traditions.

Readers should note that the excerpts represent only a portion of the volume's contents, and the full text may contain additional articles on other topics. The work is cataloged as antisemitic literature, and its claims should be evaluated critically. The preface's assertion that the articles are 'mild and unprejudiced' contrasts sharply with the inflammatory language and unsupported generalizations found in the 'Eli, Eli' article.

There are nights when I remember handling Aspects of Jewish power, its pages heavy with a hate I still don't understand, and I'd set it aside, shaken. Yet, a quieter volume sits beside it on my shelf, one that murmurs about the very ignorance that breeds such claims. That book, Ignorant Essays — Context and Discussion, feels like a patient friend nodding slowly at the absurdity. Together, they make a strange, honest pair.

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