STOP

STOP
LISTENING
TO
JAZZ

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>stop listening to good music

You’re not my dad!

What were his reasons for hating jazz again?

something something castration something something negroes something something random economic oversimplifications

This dude looks like a stroke had him

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What is some Adorno-core? No dumbed down n-word music, please.

youtube.com/watch?v=U06jlgpMtQs

It’s literally the most ironic and poetic metaphor for what they were talking about. People say “le Frankfurt school” and couldn’t tell you shit about it

So he's just Zizek for boomers?

I cam tell you it was retarded shit for fags

based Frankfurt School

American culture was always garbo, no exceptions

They made my peepee feel funny while watching interracial tranny porn - Jordan B Peterson

because I care what some bald bespectacled faggot in a dusty suit and pedo smirk thinks/says

Did he ever comment on more modern styles of jazz like Bebop or Avant-garde? I feel like most of his critiques of jazz and popular music is based on stuff like Swing, Big Band, Dixieland, etc.

His point seems destined to be forever missed. He wasn't talking about Jazz like Miles Davis, Charlie Parker, Coltrane, and the like (who weren't even active when Adorno wrote that opinion), but the swing Jazz era in particular, which I guess he saw as a bland product. But his primary experience with that form of Jazz was played by German musicians. During and after World War I, Germany had trouble importing just about anything, so it's not like Adorno just strolled down to the local record store and picked up an arm full of Louis Armstrong 78s.

>Instead, German musicians created a musical substitute for jazz, based on their own popular music and rough ideas of what jazz might sound like.

Then when Germany was finally able to important/manufacture records:

>The imported jazz music excluded, as expected, the so-called “Race Records,” on which virtually all legitimate Afro-American jazz recordings were to be found.

>This led to German “jazz” bands drawing inspiration from figures such as Zez Confrey, Paul Whiteman or vaudeville singer and entertainer Al Jolson.

I'm not an acolyte of this hack, but people who throw around Adorno's Jazz criticism don't investigate the details of what informed his opinion.

I believe his comment about jazz was around the 30s, so yeah, he was sort of right. I doubt that he'd say the same thing about the 60's post-bop and free jazz.

nato pointed a radio station at the soviet union which played jazz music so he came up with some kind of weak post-hoc rationalization as to why it was secretly devilmusic and corrupting the poor vatniks

he's banksy for pretentious academics

Yeah, that makes sense. I think there's some value in his critiques of the culture industry but him shitting on jazz feels a bit misaligned in retrospect.

>Did he ever comment on more modern styles of jazz like Bebop or Avant-garde? I feel like most of his critiques of jazz and popular music is based on stuff like Swing, Big Band, Dixieland, etc.
Doesn't seem like it. Even when he resided in the US for awhile, he continued to double down on his main problem with Jazz being that it simply sold the illusion of "freedom" because the Jazz musician was always anchored the standard on which he improvised over (I think this is a poor argument, as well. As we know, not all Jazz is simply improvising over standards and improvising over standards is very interesting in itself, to see where the artist can create from that simple foundation).

I also don't think he was listening to avant-garde, Bebop, and the like, because that music wasn't particularly mainstream, so most likely, his criticism was probably influenced by "popular" Jazz artists of the late-40s/early-50s (he wrote his last essay on Jazz in 1953). Again and again, his comes back to the "standard" criticism.

Even avant-garde jazz improvises over standards.

It’s all overrated gerbaged, just admit it

>ciriticizing the Frankfurt school
Take your meds schizos and go back to

no

marithevanderaa.com/2017/05/20/according-to-adorno-a-portrait-of-jazzs-harshest-critic/

TL;DR: he based his initial hate of syncopated popular music on German pseudo-Jazz; then when he came in contact with the real thing, doubled down on his rejection because he was a dishonest intellectual and an evil person in general

>OMG THE FRANKFURT SCHOOL IS OUT TO DESTROY OUR PRECIOUS JAZZ AND STEAL OUR BODILY FLUIDS

I want /pol/ to leave

>all this cope after based Adorno consigns American “culture” to the dustbin of history

all because it doesn't lead to utopian society for troubled communist goblins ;_;