Author Topic: Hitler: The Face of Anti-Tribalism  (Read 2137 times)

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Re: Hitler: The Face of Anti-Tribalism
« Reply #30 on: July 22, 2022, 08:09:24 pm »
The only NSDAP members who definitely disliked jazz:

https://en.wikipedia.org/wiki/Negermusik

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On 4 May 1930, Wilhelm Frick, the Reich's newly appointed Minister of the Interior and Education for Thuringia made a decree called "Against the Negro Culture – For Our German Heritage".[8][9]

Frick again! We have covered him before:

http://aryanism.net/blog/aryan-sanctuary/summer-cleaning/comment-page-1/#comment-176176

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“A supplementary decree issued on 26 November 1935 extended the law to “Gypsies, Negroes, and their bastards.
Also non Aryans could not be considered for the Ahnenpass.
Africans were not considered part of the Aryan race, Africans could not join.the Sturmabteilung”

The decree was established by Wilhelm Frick, a minister under Hitler’s rule, and was quickly sacked from power and influence by Hitler after he established that decree.

https://en.wikipedia.org/wiki/Wilhelm_Frick

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His power was greatly reduced in June 1936 when Hitler named Himmler the Chief of German Police, which effectively united the police with the SS. On paper, Frick was Himmler's immediate superior. In fact, the police were now independent of Frick's control, since the SS was responsible only to Hitler.[13][14]

Who else? Back to first link:

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Eugen Hadamovsky, who purportedly stated:

    Mit dem heutigen Tag spreche ich ein endgültiges Verbot des Negerjazz für den gesamten Deutschen Rundfunk aus. (As of today, I decree a definitive ban on the negro jazz for the entire German Radio.).[8][12]

https://en.wikipedia.org/wiki/Eugen_Hadamovsky

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Goebbels was not entirely pleased with him, as is evident by many references in Goebbels' diaries.

And again, as with general hostility towards "blacks", hostility towards jazz actually predated the National Socialist era, therefore it would be more accurate to consider Frick and Hadamovsky as carrying over these attitudes from the Weimar era:

https://en.wikipedia.org/wiki/German_jazz

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After the Great War in Germany, Negrophobia coalesced with the preexisting anti-Semitism and flourished, especially since Jews were often depicted as having a racial affinity with blacks, possessing similar objectionable qualities. Jews were prevalent figures in new art forms such as jazz, cabaret, and film. Often, a great number of jazz band leaders were Jews, many from Eastern Europe, including Bela, Weber, Efim Schachmeister, Paul Godwin, and Ben Berlin.[6]
...
the deeply engrained and institutionalized racism of German society was not tolerant of blacks. For instance, many nationalistic student fraternities rejected student members who were of color or married to women of color. Furthermore, in 1932, all the conservative musicians and critics were denigrating jazz as a product of "Negro" culture, which provided the government the fodder to forbid the hiring of black musicians. Thus, for many African-American artists, popularity was a mere facade of a grim reality of being seen as a "racial alien". One critic even went as far as to call jazz a mere "negro noise", having only one purpose: "to introduce obscenities into society."[6]

Paul Schewers, a music critic, brought forth crude images of lewdly dancing black boys and girls in the service of procreation, implying that the lower forces were always surging through blacks, overtaking the rational light of morality and reason the way the white man grasped it. Undoubtedly, sensuality has an affinity with dance, and it was pervasive in jazz and in the lyrics, but this became a means of judging it as void of morality, and even aesthetics, reduced to being inferior to "high German culture".[6]
...
This burgeoning hatred of jazz and its subculture infected the entire Nazi party structure that Adolf Hitler and his followers were trying so desperately to erect.[6]

As for Hitler himself:

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Even though he never publicly spoke out against jazz specifically in the Weimar Republic, one can infer that Hitler's sentiments toward jazz must have had strong ties to his perception of racial hierarchy, with jazz, not surprisingly, being at the very bottom.[6]

No, one cannot infer this! If anything, that Hitler never explicitly criticized jazz despite how politically easy it would have been for him to do so gives us a reason to infer in the opposite direction. There is also no information that I have come across that positively suggests Hitler enjoyed jazz personally. However, it is not necessary to personally be a fan of something in order to not be hostile towards that thing.

Another possibility is that Hitler disliked jazz for different reasons than the rightists did, but avoided talking about it in order to not cause confusion. It is actually possible to criticize jazz from the left, by arguing that it is an improvement over Western classical music but still shares some of its values, such as gratuitous complexity/decorativeness/showboating, and therefore needs further purification. From this perspective, the musical developments of the Counterculture era can be viewed positively as the removal of more Western aesthetical assumptions from composition. (I myself fall into this camp.)
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