>if you are a fascist who like jazz you are mentally ill >capitalism also sucks because people have different taste in art then me >why was humanity so much more fulfilled before civilization >but the enlightenment is great guys
Teddy: Hello. Sally, do you love your mummy? Sally: Why yes Teddy. You could say I Adorno her *TeHe* Teddy: . . . (shots Sally) Bystander: WHY DID YOU KILL THAT LITTLE GIRL? Teddy: The nuclear family is an agent of Fascism. . .
Ayden Robinson
He didn't think the Enlightenment was 'great'
Robert Gutierrez
"Roses are red Violets are blue I'm composing poetry after the Holocaust Take that, you fat smelly jew"
William Baker
>capitalism also sucks because people have different taste in art then me how is this wrong? markets for art controlled by popular opinion is cancer and creates stagnation.
Christian Butler
>why was humanity so much more fulfilled before civilization >but the enlightenment is great guys
you missed the whole fucking point! he says that civilization is shit because it started with the enlightment which is shit.
Gavin Campbell
>tfw all those things are actually true
Jazz included, but you have to remember that he only listened to it in the '20s, when it still was pure entertainment and the canon didn't count yet giants such as Ellington, Davis and Coltrane. As far as we know he never listened to jazz after the '30s, and from the '40s atonal music was the only thing that made sense to him (wich is reasonable, since he got completely traumatized by the Holocaust).
I mean, would you really argue that free markets has benefited arts in the slightest? He was 100% right about culture industry, to the point where /pol/hacks actually believe that he orchestrated this decadence with 10 other Jews. That's how right he was.
Joshua Davis
>markets for art
Charles Edwards
take the redpill he destroyed the West through propagating interracial breeding.
There's a whole chapter on it in 'Dialectics of Enlightenment'
Christopher Sanchez
his argument about jazz doesn't falter even with the "greats", face it bruv, if your music facilitates improvisation you're pop
Owen Ramirez
...
Connor Thompson
I'm pretty sire that he would have liked at the very least the classics of free jazz.
Blake Long
take the classical pill, stay woke
Caleb Robinson
Guys, relax. I'm pretty sure now we are old enough as a people to get over the "muh high brow!" hump that prevents people from listening to good music.
The point that he was trying to make seems to be that music is changing to fit the new social conditions under capitalism, namely our commercialised needs. Cheap music plays in bars that people go to to relax to get away from their alienating work. It needs to be pumped out quickly to capitalise on popular trends and technology (record players).
It seems like every black writer I've read (all two of them) touches upon a similar point.
Levi Nguyen
Already swallowed it, but I don't see how Adorno could have hated John Coltrane and Ornette Coleman, especially considering the music he was promoting and producing in his lifetime.
Jaxson Nelson
for "jazz" just read "swing" or "pop", that's closer to what he meant.
he was still wrong but w/e
Chase Rivera
>he was still wrong but w/e
On what was he wrong?
Jason Davis
>destroyed the West through propagating interracial breeding South America is not the west. Europe has tons of foreigners.
Brayden Reyes
He hated Louis Armstrong. Poor black people who have nothing to do with Nazi Germany, or Europe at all, who write music about their own social conditioned are considered are fascist according to Adorno. He even goes out of his way to claim that Jazz was invented by whites. Adorno was a closeted racist.
Louis Armstrongs' "What Did I Do to Be So Black and Blue?" = fascist
Read Adorno's essays he again. He simply hated black people.
Like this guy said If you can re-interpreet and re-play a song, it's fascist. That's the logic of the same at work, which doesn't tolerate difference.
Ian Long
> The specification of the individual in jazz never was and never will be that of a thriving productive power, but always that of a neurotic weakness, just as the basic models of the “excessive” hot subject remain musically completely banal and conventional. For this reason, perhaps, oppressed peoples could be said to be especially well-prepared for jazz. To some extent, they demonstrate for the not yet adequately mutilated liberals the mechanism of identification with their own oppression.
What the fuck did I just read? Adornians will defend this?