By 1926, Cole Porter had already written hundreds of songs several Broadway scores, “none of which had, well, scored,” poet and critic David Lehman points out. But one enchanted evening that year, while dining in Venice (with which Cole Porter had fallen in love) with Noel Coward, Richard Rodgers and Lorenz Hart (the latter two being Jewish, Rodgers’ Dad’s family name was originally Abrahams), Porter confided that he had finally figured out the secret to writing hits. “I’ll write Jewish tunes,” he said.

Indeed he scored a major hit in 1928 with “Let’s Do It”.

 

From Wikipedia:  At the age of 36, Porter reintroduced himself to Broadway in 1928 with the musical Paris, his first hit.[36] It was commissioned by E. Ray Goetz at the instigation of Goetz’s wife and the show’s star, Irène Bordoni.[36] She had wanted Rodgers and Hart to write the songs, but they were unavailable, and Porter’s agent persuaded Goetz to hire Porter instead.

 

One of the songs in the musical was “Let’s Do It”. Note that the song is replete with full fledged sexual innuendo (a common thread in so many of his songs). One might argue that the bridge of “Let’s Do It” has a Jewish element.