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.
In these cases we sometimes call on David Simon for guidance. Simon is the docent of Treme, a museum-quality exhibition that also happens to be a television show about New Orleans, with the soundtrack to prove it. The curated quality of the music, in fairness, arises from real appreciation of that NOLA sound and a desire to present it to the world. Even when it admits other influences—as in the second season subplot featuring bounce, a kind of call-and-response hip-hop that originated in New Orleans and continues to exert outsize influence on American popular music—it’s as the exception to the rule, something to dabble in for comic relief before the story (and the music) returns to the main event. But in the current moment bounce (and hip-hop, and metal, and punk, and noise rock) have as much claim to be the main event in New Orleans as jazz and zydeco do, especially as music produced and enjoyed by a majority of New Orleanians.
By TED GIOIA Oxford University Press
"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] 
'The Lion Sleeps Tonight' Genealogy: What You Don't …
Baton Rouge is many things: state capitol, college town and capital of Plantation Country. Once the wealthy center of the sugar cane industry in the South, the city’s historic prosperity is evident in its architecture. Affectionately nicknamed “Red Stick” (the translation of “baton rouge”), the city has a thriving arts culture, a , plenty of live music and tons of Tigers—the variety, that is.
Harberton Folk, South Devon, Folk Circulars
Don’t miss, home to a working cotton plantation of the early 1800s that operates alongside a modern cotton plantation and gin. Learn about the early Natchez planters and slave culture—in particular, the slave music and culture that helped to shape the blues. Tour both the historic and modern cotton operations to get a unique understanding of how the industry shaped—and continues to shape—the Mississippi Delta.