Was “jazz” a “cultural marxism” of the past?
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Was jazz a cultural marxism of the past?
Was “jazz” a “cultural marxism” of the past?
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The aim of jazz is the mechanical reproduction of a regressive moment, a castration symbolism. 'Give up your masculinity, let yourself be castrated,' the eunuchlike sound of the jazz band both mocks and proclaims, 'and you will be rewarded, accepted into a fraternity which shares the mystery of impotence with you, a mystery revealed at the moment of the initiation rite.
Kek
It may seem odd to think about but Brian and Mr Cron are both definitely packing more than Timothy. Timothy would not deny that. It is why he transitioned into Daphne and got buttfricked by Black folk
frick right off
attention mods: this is obviously intended to bait modern day political discussion
All works of the earlier Viennese classicism are, without exception, rhythmically simpler than stock arrangements of jazz. Melodically, the wide intervals of a good many hits such as "Deep Purple" or "Sunrise Serenade" are more difficult to follow per se than most melodies of, for example, Haydn, which consist mainly of circumscriptions of tonic triads and second steps. Harmonically, the supply of chords of the so-called classics is invariably more limited than that of any current Tin Pan Alley composer who draws from Debussy, Ravel, and even later sources.
Structural standardization aims at standard reactions. This has nothing to do with simplicity and complexity. In serious music, each musical element, even the simplest one, is "itself", and the more highly organized the work is, the less possibility there is of substitution among the details. In hit music, however, the structure underlying the piece is abstract, existing independent of the specific course of the music. This is basic to the illusion that certain complex harmonies are more easily understandable in popular music than the same harmonies in serious music. For the complicated in popular music never functions as "itself" but only as a disguise or embellishment behind which the scheme can always be perceived. In jazz the amateur listener is capable of replacing complicated rhythmical or harmonic formulas by the schematic ones which they represent and which they still suggest, however adventurous they appear. The ear deals with the difficulties of hit music by achieving slight substitutions derived from the knowledge of the patterns. The listener, when faced with the complicated, actually hears only the simple which it represents and perceives the complicated only as a parodistic distortion of the simple.
>Germans in the 1930s heard this relatively tame and goofy shit and thought it was the end times
This isn't even scandalous in the context of its own fricking era lmao, why do Germans have such a perpetual stick up their asses?
Why was it so hated anyway?
A lot of people don't realize that "Jazz clubs" were where you went to get cocaine and heroin and sometimes weed. So it's not like they weren't hubs of degeneracy, they definitely were.
This was a jazz song about Tims fat hispanic wife and the milk that was oozing outta her udders
Why is it jazz sounds classy for us but it was hated like Hip-hop ages ago?
The composition hears for the listener. This is how popular music divests the listener of his spontaneity and promotes conditioned reflexes. Not only does it not require his effort to follow its concrete stream; it actually gives him models under which anything concrete still remaining may be subsumed. The schematic buildup dictates the way in which he must listen while, at the same time, it makes any effort in listening unnecessary. Popular music is "pre-digested" in a way strongly resembling the fad of "digests" of printed material.
Because when you look up "classic jazz" you only get the top 100 songs ever made
Timothy would rhythmically fart the overture to Pacific Rim for Alexa.
Existence in late capitalism is a permanent rite of initiation. Everyone must show that they identify wholeheartedly with the power which beats them. This is inherent in the principle of syncopation in jazz, which mocks the act of stumbling while elevating it to the norm.
Whats considered good or classy comes from whatever the elites like at the moment
I mean "the worst jazz album of all time" is literally just random sounds and rhythms
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so Jazz at its worst was random sounds with no order, with that you can see why most jazz is overlooked today as trash
Der Grosses Schlampe von Kastilien
The recently adopted insistence on culturing uncultivation, the enthusiasm for the beauty of street battles, is a reprise of futurist and dadaist actions . The cheap aestheticism of short-winded politics is reciprocal with the faltering of aesthetic power. Recommending jazz and rock-and-roll instead of Beethoven does not demolish the affirmative lie of culture but rather furnishes barbarism and the profit interest of the culture industry with a subterfuge. The allegedly vital and uncorrupted nature of such products is synthetically processed by precisely those powers that are supposedly the target of the Great Refusal: These products are the truly corrupt.
Is this all adorno?
is from DoE with Horkheimer, though one could make a guess who wrote that bit.
>noooooo stop doing drugs and making stupid music you're making us look like fools!
whomst quoteth thou
commies
why
jazz is not music it is anti-music it is purposefully atonal and arrhythmic and unstructured for the sake of being so. very leftist.