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• W3010947998 abstract "Reviewed by: Anti-Music: Jazz and Racial Blackness in German Thought between the Wars by Mark Christian Thompson Daniel F. Boomhower Anti-Music: Jazz and Racial Blackness in German Thought between the Wars. By Mark Christian Thompson. (SUNY Series, Philosophy and Race.) Albany: State University of New York Press, 2018. [xxvi, 200 p. ISBN 9781438469874 (hardcover), $80; ISBN 9781438469867 (paperback), $20.95.] Illustrations, bibliography, index. In the course of the Weimar Republic, jazz became a potent symbol of a post–World War I reality that witnessed the rapid commercialization of music, especially through phonograph records, the embrace of new social norms, and the decline of traditional cultural authority. Yet what an individual today would call jazz differs greatly from the music going by that name in the German imagination of the 1920s. This reality has become increasingly evident in a continuously growing body of scholarship. Michael H. Kater's Different Drummers: Jazz in the Culture of Nazi Germany (New York: Oxford University Press, 1992) provides a seminal study of jazz in Germany in the first half of the twentieth century and, as such, serves as the primary point of reference for subsequent scholarship. J. Bradford Robinson's study, Jazz Reception in Weimar Germany: In Search of Shimmy Figure (in Music and Performance during the Weimar Republic, ed. Bryan Gilliam [Cambridge: Cambridge University Press, 1994], 107–34), remains an impressive and insightful survey, given its length. More recently, Jonathan O. Wipplinger has expanded the historical literature with his monograph The Jazz Republic: Music, Race, and American Culture in Weimar Germany (Ann Arbor: University of Michigan Press, 2017). As a study of literary and philosophical texts, Mark Christian Thompson's Anti-Music: Jazz and Racial Blackness in German Thought between the Wars approaches the topic of jazz in Weimar and Nazi Germany with a different set of sources and methodologies as compared to the historical studies listed above. Here, a variety of German reflections on jazz in the 1920s and 1930s serve as the focal point (p. xiii). He assembles a cross section of philosophical [End Page 438] and literary writings, with each of his five chapters considering works by a single author: Spuren [Traces] (1930), the philosopher Ernst Bloch's confounding collection of anecdotes and aphorisms; various writings on music by the playwright Bertolt Brecht; Hermann Hesse's novel Der Steppenwolf (1927); Theodor W. Adorno's essays concerning jazz; and Klaus Mann's novel Mephisto (1936). These are not documents of historical events, as is commonly the concern of history and musicology, but of attitudes. In the course of his study, Thompson employs symptomatic textual reading in order to elucidate the paradox of the musically and racially subversive genre of jazz functioning in collusion with the totalitarianism of the culture industry and the Nazi regime (p. xix). Three of Thompson's chapters concern philosophical tracts. In his first chapter, Thompson focuses on Ernst Bloch's fable of a white traveler in America who, after a night of drinking all sorts of strong stuff with friends, goes to sleep in blackface in a hotel room shared with a black man. After being awakened by a bellhop to catch a train, he discovers that his friends painted his face black, and he exclaims that the bellhop woke the wrong man. In the mere two paragraphs of the fable, Bloch concludes that the man had been stuck in habitual whiteness, a construction of race that the black man would also recognize if he blinked hard just once (p. 2). Thompson looks much deeper, seeing in the fable allusions to jazz through associations with blackness and drug use. He utilizes the question of the social construction of race to highlight how German xenophobia increasingly sought to disassociate jazz from blackness, culminating in a white parody of jazz propagated by the Nazi Ministry of Culture. The historical arch of the chapter, which considers issues developing in the early 1920s through the 1940s, traces the shifting attitudes toward jazz that Thompson explicates in subsequent chapters. His second chapter, The Jazz Machine: Brecht and the Politics of Jazz, examines Brecht's theoretical writings from the 1920s and 1930s. Brecht's vision of a critical dramaturgy, what the playwright..." @default.
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• W3010947998 title "Anti-Music: Jazz and Racial Blackness in German Thought between the Wars by Mark Christian Thompson" @default.
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