The “J” Word: Why “Jazz”?

PART ONE

When I think of the word “Jazz” I am reminded of the music I love the most, which is why I generally have a positive reaction to the word. Not that I have really cared too much about the word in and of itself. It is a very silly word. Actually, it’s stupid and insulting. Imagine someone referring to Chopin’s Nocturne in F-Sharp Major or Beethoven’s Violin Concerto as “fancy-schmancy” or “longhair” music, and you get the idea. Admittedly some of this Music, because it really is cheap, superficial, flashy and overblown for its own sake really does deserve the childish moniker of “Jazz.” Louis Armstrong’s West End Blues, on the other hand, or Miles Davis’s Tempus Fugit, or Sidney Bechet’s Summertime, or Gillespie and Parker’s Groovin’ High (1945) however, simply do not deserve to be categorized by such a word. Many of the greatest practitioners of this music have always detested it. “It’s a nigger word,” railed Miles Davis, in a rare 1980 radio interview. “It means nigger music…when white people hear the word they think of niggers fucking and shit like that.” Clarinetist and soprano saxist Sidney Bechet considered the word to be superfluous; he preferred to call the music “ragtime” throughout his life. To him Jazz was just “a name the white people have given to the music. There’s two kinds of music. There’s classic and there’s ragtime. When I tell you ragtime, you can feel it, there’s a spirit right in the word…But Jazz, ­ Jazz could mean any damn’ thing: high times, screwing, ballroom. It used to be spelled Jass…”.

Duke Ellington (with whom Bechet played briefly in 1925) himself said as much concerning “Jazz.” The word seems to have rubbed him the wrong way and he used it reluctantly, out of lack of choice for a better word. “By and large, (this music) has always been like the kind of man you wouldn’t want your daughter to associate with,” he once wrote. “The word ‘jazz’ has been part of the problem.”°

Indeed. “Jazz” has the stink of Storyville all over it. Since its closing in 1917 a huge amount of legends and fantasies have grown up around Storyville, fed in large part by the embellishments of musicians who once played in its establishments. For the record let it be known that, aside from solo pianists such as Tony Jackson, Kid Ross or Ferdinand Mouton (or LaMothe or LeMott) no jazz band (nor any other band) ever played in a Storyville brothel: most whorehouses were ill-equipped to house a six or seven-piece band on their premises. Joe Oliver, Freddie Keppard, Manuel Manetta, Edward “Kid” Ory, Johnny and Warren “Baby” Dodds, Lorenzo Tio, Jr., Peter Bocage, Henry Zeno, George “Pops” Foster, Alphonse Picou, Armand Piron, Sidney Bechet and their ilk plied their trade in grungy cafes and dance halls such as Pete Lala’s, The Big 25 or Tom Anderson’s cafe for distressingly long hours and for insultingly low pay. These establishments were often hot, sweaty and stinking of armpits, bad breath, wet farts and God knows what else–which explains why New Orleans’ Union Sons Hall, a popular dance hall among black New Orleanians, was cheekily referred to as the “Funky Butt Hall.”

In any event, the music that the above musicians were shaping between roughly 1890 and 1915 was very rarely, if at all, referred to as “jazz,” let alone “jass.” To Sidney Bechet and Louis Nelson DeLisle, it was always “ragtime music.” To others it was simply “The Music.” The shady origins of the word jazz–indeed, the very cheapness of the word itself–appeared to impress even in the minds of its creators that what they were doing was cheap, dirty, and disreputable–“jungle music,” as Rudy Vallee once insinuated on his radio program. If early jazz musicians plied their trade in ratty joints, it was certainly not out of choice.

“Who draped those basement dens

With silk, but knaves and robbers

And their ilk?

Who came to prostitute your art

And gave you pennies

for your part?”

–Duke Ellington, excerpt from text of Black, Brown and Beige

There are dozens upon dozens of other explanations for the origins of the J-word and all of them are rather ridiculous. Jazz, in 1912, was simply an adjective used to describe something spunky (as was jasm, a word dating to at least 1860) screwy and off-the-wall–the way Portland Beavers pitcher Ben Henderson described his latest (and unsuccessful) method of pitching. As for “jass,” speculations abound as to whether or not it is a derivation of “jaser” (the French verb to jabber on and talk shit) or a reference to the scent of jasmine (which the whores of Storyville allegedly wore) or whether it was simply cooked up by white New Orleans musicians (such as Tom Brown¹) once they made their way out of the South and towards Chicago, San Francisco and New York.

The truth is that “Jazz” was slapped on The Music as a way of selling it to the broader white American mainstream. The earliest known reference to “Jazz” in a musical sense dates from July 11, 1915.  This very revealing article, written by Gordon Seagrove for the Chicago Tribune, features a caricatured “darkie”² alto saxophonist woo-wooing away on his horn. So it is perfectly clear that as early as the summer of 1915 The Music–a potent mixture of blues, ragtime and secularized spiritual harmonies–was already being referred to as “Jazz.” The word was insulting, but it sold the music and helped to get some of these musicians out of Funky Butt Hall. (Note the two Z’s and not two S’s. It is not entirely clear as to how or why Tom Brown, Johnny Stein or Dominic La Rocca came up with “jass.” In my opinion, Jass sounds a lot like Ass–indeed, most of the records put out by the Original Dixieland Jass Band and its many imitators (between 1917 and 1920) sound like “ass,” and certainly not in a good way.)

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Duke Ellington, about 1930. “I am not playing Jazz…I am trying to play the natural feelings of a people”

I have already noted that New Orleanians generally disliked the term. Northerners were not much different. To James P. Johnson and Eubie Blake it was still Ragtime. Ellington’s own preference was for the term Negro Music. “I am not playing jazz,” he stated in 1930, in reference to his musical ambitions, “I am trying to play the natural feelings of a people.” Ellington had once counseled bandleader and arranger Fletcher Henderson on the matter. “Why don’t we drop the word ‘Jazz’ and call what we are doing ‘Negro Music’? Then there won’t be any confusion.” Reportedly, Henderson was not too keen on dropping the “J” word, assuming he himself had ever used it.

Of course, negative reaction to the J-word was not always limited to black musicians.³ Much of this resentment was echoed even by white musicians themselves, such as Red Norvo, who once said in 1944 “I certainly hope it isn’t jazz we’re playing, because jazz to me represents something obnoxious, like that Dixieland school of thought…the musicians it stands for are corny by today’s standards.”

Dave Tough, one of the core members of the white Austin High Gang, eventually gravitated to more modern sounds and remarked of Dixieland that it was “nowhere,” requested by slumming “snobs” on a nostalgic kick in 1940s Manhattan. “Those Dixieland characters come here to live their youth all over again,” Tough railed. “They like to think it’s still Prohibition and they’re wild young cats up from Princeton for a hot time. All they need is a volume of F. Scott Fitzgerald sticking out of their pockets.” Tough dismissed “Hot Jazz” as harmonically infantile, “a bad copy of the music that white Chicago musicians played who were in turn doing bad imitations of the music that they heard from the musicians who came from New Orleans.”

Charles Mingus, in 1969, said: “Don’t call me a jazz musician. The word ‘jazz’ means nigger, discrimination, second-class citizenship, the back-of-the-bus bit.” John Coltrane, a few years before his death, told an interviewer that “Jazz is a word they use to sell our music, but to me that word does not exist.” Anthony Braxton (like the late Ornette Coleman) will tell you the exact same things, and not mince words about it. In fact Braxton is deeply skeptical of many of the current trends in “Jazz,” particularly those inaugurated by the Marsalis Brothers under the tutelage of Stanley Crouch and the late Albert Murray; he sees in the current “Jazz” revival a “freezing” of what was once an innovative and living musical language in stoneª so that it remains locked forever in an American (and in this instance, Southern) past which we ought to have placed far behind us. Braxton assumed that Marsalis’s music was simply a comfortably nostalgic accompaniment to the increasingly toxic racism and reactionary politics of the Reagan, Clinton, and Bush “administrations,” and on a very real level he is right: as pleasant as Marsalis’s music can be at times, it speaks very little–if anything–of our contemporary world; the harshness and dissonance that one can find in his music is the harshness and dissonance of another, simpler time. Sadly, even in that “other time” (say, the 20s and 30s) much of the music did not reflect the temper of that time but simply glossed over it with the phony 23-Skidoo slush of The Clambake Seven or, God forbid, the horror that was the Andrews Sisters.

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Red Norvo: “Jazz…represents something obnoxious”

Today, the most vociferous opponent of the word “Jazz” is trumpeter Nicholas Payton, who has made it his mission to assassinate not merely the J-word but everything else associated with it.† To this end he has promoted the term #BAM, short for Black American Music. “There is no such thing as jazz,” he wrote in April of 2014, completely negating the idea of any sort of “Jazz tradition.” “(A)ny idea of what that might be is false. It’s impossible to build a tradition upon something that was never a designed to be a true expression of a community. The very existence of jazz is predicated upon a lie, just like racism.”

The lie being, of course, not merely that “Negroes” are a simple, funky, sexual, violent and primitive people without a history, without traditions, without art, without minds and so on and so fourth–no point in repeating oft-repeated lies–but also the very lie that any such creature called a “Negro” exists. When Duke Ellington spoke to Fletcher Henderson of the need to create a “Negro Music” he was simply utilizing the current and frankly most socially progressive language of that time. Duke Ellington’s “Negro” was not the Negro of Tom Brown, Stephen Foster, Joel Chandler Harris, or the Original Dixieland Jazz Band nor even, for that matter, Mezz Mezzrow. Ellington rejected that image of the Negro publicly and was even more vehement in his rejection privately: “And was the picture true/Of you? The camera eye in focus…./Or was it all a sorry bit/Of ofay hocus-pocus?”

Ofay hocus-pocus, properly translated, is essentially what mainstream jazz or jass was and quite frankly, still is. Today that hocus-pocus (better known as bullshit) is simply dressed up in the robes or respectability and topped with a tasseled hat. But even the squarest of the super-squares, the rank-and-file men on the street, know that the vast bulk of contemporary jazz is remote, effete, elitist and un-listenable and that the back-asswards racism of many a “jazz classic” make even some of the best of jazz unendurable. Louis Armstrong’s theme song “When It’s Sleepy Time Down South,” for instance–a lovely melody marred by idiotically trite lyrics–was straight Stephen Foster, a fact he himself knew quite well and seems to have performed the tune largely in a satirical manner: On one early rendition of “Sleepy” (from December 1932) he twists the lyrics and sings, “when it’s slavery time down South.”

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Nicholas Payton: “The very existence of jazz is predicated upon a lie”

“To speak of ‘jazz tradition’ is like to speak of ‘racial justice,'” Payton continues. “It’s not possible to have justice within the confines of race because race was specifically designed to subjugate certain people to an underclass so that the “majority” thrives. Injustice is inherently built within the racial construct. There has never been any tradition within jazz other than to ensure Black cultural expression is depreciated and undervalued.”

As a staunch anti-fascist, I  share both Braxton’s and Payton’s concerns about this thing called “Jazz.” I hate to look at The Music–my music–through the ugly prism of politics. Yet at some point such skepticism becomes inevitable.  As much as I enjoy vintage jazz–I have to confess that it is the virtual soundtrack to my life–I see ugly political trends running in tandem with the current enthusiasm for ragtime, “hot jazz” and “swing.” It is a disturbing thought that the music of Blind Boy Paxton, the Carolina Chocolate Drops, Craig Ventresco, Reginald Robinson, John Reed-Torres and innumerable other trad jazz and ragtime bands both in the U.S. and elsewhere could serve as a musical soundtrack to something else: the rise in far-right nationalism across the globe. Fortunately, it ain’t necessarily so: there is a German swing society located in Berlin which is vociferously anti-fascist and even Socialist in outlook. But I’m afraid that their progressive politics are, generally speaking, not shared by those who enjoy their music.

_________________________

NOTES

°‘I was recently held up again at a Dublin street corner by a small crowd who were listening to a young man with a strong North of Ireland accent who was aloft on a little Irish scaffold. / “Glun na Buaidhe,” he roared, “has its own ideas about the banks, has its own ideas about dancing. There is one sort of dancing that Glun na Buaidhe will not permit and that is jazz dancing. Because jazz dancing is the product of the dirty nigger culture of America, the dirty low nigger culture of America.”’ Myles na gCopaleen, from an extract of his Irish Times “Cruiskeen Lawn” columns (1944)

¹Tom Brown (1888-1958) was a tailgate trombonist who brought his band to Chicago in 1915, billing it as “Tom Brown’s Band from Dixieland.” Brown was the brother of pioneering slap-bassist Steve Brown and a pathological racist and anti-Semite who once confided to journalist Al Rose that Europeans and Asians (“them foreigners”) refused to listen to jazz unless “niggers” were playing it, that “niggers” weren’t smart enough to discern any sort of harmony because, well, they were “just niggers.” As a side comment Tommy also noted  that these same “niggers” were riding on previously all-white tramlines, that “dagos” were getting all the good hotel jobs in New Orleans and that “Jews” were taking over Uptown–three notable developments in late 50s New Orleans which disturbed him somewhat.

²Gordon Seagrove, writing in the Chicago Tribune (1915), begins his article by asking a young lady “what is the blues?” The young lady answers, loudly and enthusiastically, “Jazz!”

“A blue note is a sour note,” explains an unidentified Chicago pianist in Seagrove’s article. “(Blue notes) aren’t new. They are just reborn into popularity. They started in the South a half-century ago and are the interpretations of darkies (sic) originally. The trade name for them is Jazz.”

³Much of the resentment on the part of Black American musicians to the word “Jazz” is due to racist assumptions concerning the true nature of The Music. Even to supposedly liberal and sympathetic minds (such as John Hammond or Patrick “Spike” Hughes, himself a superb jazz arranger) jazz was essentially a happy, primitive, supersexual party music where bored upper-class whites violated their sense of propriety by getting drunk, getting high, or giving or receiving a blow job under a cafe table. Leftist jazz critics (such as Rudi Blesh) read into The Music an expression of Negro misery, anger and resentment of the Jim Crow status quo. While this is true to an extent it does not give the whole picture of what The Music is about, and in fact is simply the white left’s paternalistic vision of Black “jazz” as a proletarian, anti-elitist folk music–a vision which is just as limiting as the right-wing “happy darky” caricature of “jazz” music.

ªBraxton: “The whole jazz platform, everything that’s happened since the 1960s in the jazz world, in my opinion, has come about through the liberal sector, and that sector has postulated a concept of “we are with you in communion around trans-African matters,” while at the same time, what they’re really saying is “we’re with you, but you had better follow our concept of what you should be. We’re with you as long as we can say that jazz goes to 1965, and everything after that is not black.” By chopping off the restructural component of the music, what we’ve seen in the last 30 years has been that without the head you start taking from the body, drawing from stylistic influences. From that point, the musicians would start to go further and further back in time; now we’re back to the minstrel period, back to Stagger Lee. But it’s taken for granted in every other community that evolution is a point of fact….

“It is coming out of New York; they brought the South to New York. By Southern strategy in this context, take the blues, for instance. The blues is being posited as the legitimate projection for African Americans to function inside of. More and more, the blues is being defined as an idiomatic generic state as opposed to an infinite affinity state, which is what it really is. The blues, in my opinion, is being used as a way to marshal and limit, or define the parameters, of African American intellectual and vibrational dynamics. With the blues, they can say “this is black music.” If it’s not the blues, if you write an opera, they can say, “oh, this is not black music.” If it’s blues, it can be received and appreciated as consistent with what African Americans are supposed to be involved with.”

Braxton’s concerns about “reductionism” in so-called Jazz music echo Frantz Fanon’s own observations concerning the Moldy-Fygge Jazz junkie’s revulsion towards bebop: “The fact is that in their eyes jazz should only be the despairing, broken-down nostalgia of an old Negro who is trapped between five glasses of whisky, the curse of his race, and the racial hatred of the white men. As soon as the Negro comes to an understanding of himself, and understands the rest of the world differently, when he gives birth to hope and forces back the racist universe, it is clear that his trumpet sounds more clearly and his voice less hoarsely. The new fashions in jazz are not simply born of economic competition. We must without any doubt see in them one of the consequences of the defeat, slow but sure, of the Southern world of the United States. And it is not utopian to suppose that in fifty years’ time the type of jazz howl hiccupped by a poor misfortunate Negro will be upheld only by the whites who believe in it as an expression of nigger-hood, and who are faithful to this arrested image of a type of relationship.” Frantz Fanon, “Reciprocal Bases of National Culture and the Fight for Freedom,” Wretched of the Earth. Bold-face mine.

†As a side note Vijay Iyer, a noted contemporary “jazz” pianist, also dislikes the term “Jazz” and dismisses it as an invention of the American record industry.

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“Oh, the Violins!”–When Vultures Cry

James Alan Fields, Jr. was once known as a “kind” and “shy” young boy–a “gentle giant,” according his teachers and classmates in Kentucky and Ohio. In reality this fat, bloated turnip and self-hating Jew was inwardly a seething mass of white racist ressentiment, who by the 9th grade already held deeply entrenched, radical views on race. Throughout high school he studied intensively the Waffen SS under a Mr. Weimer who, in his words, “used all the tricks to really ram home how evil and wrong the Nazis were” and–upon learning about Mr. Fields’ deliberately running over 14 people at the Charlottesville rally on August 12–“definitely feel like (he) failed.”

Unfortunately, Mr. Weimer did, but he’s not to be faulted for that. If Mr. Weimer can be faulted for anything it was naively thinking he could open a mind which was closed from the start.

As the fallout from “Bleeding Kansas, Part Two” continues¹, many participants and observers seem to be cracking up. Many of them have since revealed themselves as simply being swaggering blowhards who thought this “white power” business was just another good ole fashioned game of “cowboys and Indians.” Jason Kessler, one of the head Nazi goons at the August 12th rally, was chased off the podium by infuriated protesters a few days later when he attempted to clarify what his goon squad had attempted to “achieve” at his “Unite the Right” rally. On the 18th of August, he sent an angry Tweet calling the late Heather Heyer (killed by James Alan Fields) a “fat, disgusting Communist” and that her death was “payback time” for the “94 million” Kessler claims were killed by Communism in the 20th century.² Kessler, of course, has backtracked, denounced his own words as “heinous” and is now claiming that he was drugged out on “Xanax, ambien and booze” when he wrote the tweet. The poor wittle thing is now claiming that he is under a “crushing amount of stress” and receives “daily” death threats. (Wow, Jason. How horrible. Welcome to our world.)

Christopher Cantwell, known as one of the toughest of the tough, one of the most uncompromising of the Nazi horde, made a name for himself by waving his pop-guns around while being interviewed for VICE magazine two years ago. (As a side note, it should be remembered that one of main organizers of “Unite the Right,” Gavin MacInness, was VICE’s chief editor about a decade ago.) In a more recent video an unshaven Mr. Cantwell can be seen sniffling and sobbing and shitting his pants at the very thought that the police might be after him, that he had never intended to be violent, that all that gun-waving he did on his previous videos was just “him talking shit.” The contrast between the previous muscle-bound Ubermensch and the latest driveling, sniffling little puddle of snot could not help but make one laugh. (Again, Chris, welcome to our world.)

And the tears, sniffling and snot rags didn’t end with Can’t-Well. When Donald Trump dragged his feet in responding to the outrage in Charlottesville, many people rightfully suspected that Herr Trump’s true sympathies lay with the neo-Confederates and alt-righters. This writer has always assumed the worst about the Orange Honky, so Trump’s half-assed and weak insinuations that Antifa was really to blame for Charlottesville came as no surprise. But most everyone else in the media was either naively outraged, or “outraged” in the most disingenuous and opportunistic way –like, for instance, certain establishment Republicans/Democrats, such as Paul Ryan, Charles Krauthammer and Mitch McConnell, who took advantage of Trump’s waffling to gain a high moral ground that they had never held in the entirety of their careers: as if it were even possible to attain “moral high ground” in contemporary American politics.

The downpour of crocodile tears and retractions began in earnest and lasted for about a week, especially after Logan began systematically exposing individual members of the Charlottesville rally. Pete Tefft was rightfully disowned by his family, which appears to have some sense of decency. Peter Cvjetanovic, 18, another disaffected white ethnic, angrily claimed that he was “not a Nazi” (all appearances notwithstanding) and was simply “marching with them” because…well, because he liked “white history,” that’s all. No nigger-hater, he. Jarrod Kuhn, a leading organizer and member of the allegedly defunct Daily Stormer, now claimed he was just a “moderate Republican.” (If he is, then that would explain a lot; that would explain Dubya, explain the Iraq War, and probably explain the late Ronald Reagan laying a wreath at the grave of SS soldiers in Germany back in the mid-1980s.)  Kuhn is now whining like a little girl and claiming that his “life is over.” It should have never begun.

Andrew Anglin, webmaster for Daily Stormer, has since decamped for Nigeria to get his chocolate fix. (It has been well known in Nazi circles that Anglin, despite his ferocious hatred for blacks, Muslims and Jews, has a secret sweet tooth for chocolate and caramel. The latter he buys in the Philippines and Cambodia.³) Clay Aiken, once America’s favorite hillbilly crooner, recanted his support for Donald Trump. (Super-jock rapper LL Cool J, however, did not.)

Wendy Osefo and Gianno Caldwell, two establishment Negroes–one left, one right–could be seen shamelessly and stupidly crying last week on Fox News. Abby Huntsman, alleged “journalist” and one of one of Murdoch’s alt-lite pinup girls, sat there sandwiched between the two of them and smirking the whole time. At one point Miss Huntsman shit her pants when negro Neocon Gianno Caldwell blubbered that Trump was “morally bankrupt.” Of course, anyone with a brain knows that such a statement is true, but Abby Cunstman does not. One actually wants to vomit looking at these three: two spades weeping like a couple of kids and that smug, self-satisfied, plastic-surgery-faced half-caste sellout between them, trying to keep the whole ship from drowning in crocodile tears.

These tears continued on Fox for at least another day from Melissa Francis and Kat Timpf, two more of Fox’s resident Playboy bunnies. Miss Francis supports Trump but Kat Timpf went in on the Grand Oompla Loompa, stating “it’s honestly crazy for me to have to comment on this right now, because I’m still in the phase where I’m wondering if it was actually real life what I just watched!” Well, it was, sadly enough. Call it The Unbearable Lightness of Being in Trumplandia, because after seeing the last year unfold one’s head starts to feel that lightness you get when one is about to pass out in horror–not so much for what you have just seen but with a premonition of what’s next.

Soon there was weeping left and right–literally. I didn’t like this silliness, and felt compelled to write this essay just to put all of this into some perspective. The icing on the cake for me was seeing this obese, shirtless, uncombed BLM woman foolishly weeping–again–while confronting an equally obese white man in full Confederate regalia, silent, stoic, unblinking, standing in front of General Lee’s statue in Charlottesville, VA. A bunch of other furious protesters surrounded the fat Rebel with curses and middle fingers. The police finally broke it up and arrested the fat Rebel, handcuffed him, and ever so gently stuffed him in the squad car, to which he responded, “I’m just here to honor him, that’s all.” At that point I would have had to agree with Miss Timpf about the unreality of it all.

America has become a bad Tom and Jerry cartoon. Perhaps it always was, when you think about it. After four centuries of unending, unceasing racial and ethnic violence in North America, the media’s pretended naivete about this basic American reality is worse than disingenuous. Why is Van Jones weeping on YouTube? What is it with all these “poor sapling” tears? I think I know, but I’m simply throwing the question out there for others who may not get it. Whatever the reason for all these crocodile tears, for all this faked outrage over the death of Heather Heyerª (the only person willing to lay down her life to end the alt-right)–please, just cut that out. Cut…That…Shit…Out. You look like a  bunch of idiots. Tears don’t stop fascists, not even crocodile tears.

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Cantwell: “Mommy, help me!!”

I guess that the Negroes to the left and right of us are trying to appeal to the conscience of a neoliberal global order that does not even see them, much less hear them. Or they are trying to appeal to the people living under that order who have been trained from day one neither to see nor to hear each other. Or they are trying to appeal to that small minority within the people who live under the Neoliberal order that can actually still feel, in the hope that they will take to the streets and cry with them in the Great Struggle of Tears to end structural white supremacy. The only problem with this approach is that structural white supremacy is represented not by sandlot bullies like Cantwell, Anglin and David Duke, but by Trump and Bannon, and behind them Hillary & Bill, Bush & Bush, the late Ronald Reagan, the late Margaret Thatcher, Obama, Ronald Dumbsfeld (sic), Theresa May, Jacques Chirac, Angela Merkel, Marcon, Berlusconi and Tony Blair. (The aforementioned people are definitely not Nazis but they certainly paved the way for their return, which is why I hold all of them accountable.)

 

 

Meanwhile Bannon has been kicked out for attacking Trump’s fan base (the neo-Confederates and fascists) and has scooted back to Breitbart, with conflicting reports as to whether he will support or attack Trump. Trump is digging in his heels and attacking the alt-Left, a political nonentity. Spencer is promising more far-right looney tunes in the weeks to come. James Alan Fields and the head of the North Carolina KKK are unapologetic and are not shedding any more tears than the Grand Oompa Loompa is.

Coincidentally it was a Marxist, Takiya Fatima Thompson, who also decided that weeping and wailing was bullshit and decided to buck the center-left trend. She  tore the Confederate statue down in Durham, North Carolina. It’s good to know that some people out there have some sense. Schoolteacher Yvette Felarca, who punched a neo-Nazi, said emphatically and without tears that clocking Nazis in the face was not a crime. And it isn’t. In this writer’s opinion she should have used a beer mug. The whole ideology Nazism anyway is violence personified. (By the way Ms. Falarca punched the Nazi in his stomach, and did not kick the Nazi in his face–unlike one of her white Antifa cohorts who, as I have noticed, has not been charged. So even white far-left radicals get preferential treatment under U.S. law, as opposed to their non-white counterparts. Maybe that explains why there’s been such a dearth of black, brown and yellow men at these demonstrations.)

The charges against Ms. Felarca are absurd. Felarca was, in her words, stabbed in the arm and hit on the head. A photo that I have seen of Felarca with a bandaged forehead confirms this. The Nazi in question–if you see the video–is twice the size of the petite, slender Felarca. I’m pretty sure that the Nazi who got “assaulted” by Ms. Felarca had to be rushed to the intensive care unit after those punches, which did not even bring him down–again, much unlike the white Antifa backers who toppled him into the street.

The pop-news site “Bustle” titles its article on Felarca, “This Middle School Teacher Argues Punching Nazis is Not a Crime.” No shit? General Eisenhower argued that bombing and shooting Nazis wasn’t a crime, either. He became the fucking President in 1953. Ms. Felarca is looking at jail time. What are you trying to get at with that title, Ms. Mendoza?

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Yvette Felarca: “I wont stop”–and no, she doesn’t cry

Many in the alt-right  suddenly lost their backbones when they realized that the establishment was not going to back them up. Of course the establishment is not going to rally to their side. The establishment, which is actually a bigger threat to human rights than Spencer’s ricky-tick Tiki-Torch mob, has its own interests at stake here, and outward displays of white supremacism are not on the agenda at the moment. It is much more important for the Neoliberal establishment (which, despite everything the Keks are spouting, is not in the least Marxist) to continue to build alliances and bridges with Third World billionaire stooges in Africa, Asia, the Middle East, and Latin America, and consistently refine white supremacism to the point where it will no longer resemble fascism at all, but simply something natural. In this new Neoliberal order 500 Sierra Leoneans can perish in the blink of an eye and no one will be outraged to the extent that people were outraged over Ms. Heyer’s death. Those deaths did not register in the Western mind.

And neither did the 65 people shot over the previous weekend in Chicago. Most of them were black, of course, and these shootings were simply “business as usual.” No tears were shed over them. They were “niggers being niggers” to conservatives as well as neoliberals, who would prefer not to call black people “niggers”: that would be bad for business. It wants black people to think, talk and act in ways that define themselves as such. The nigger stereotype must be made real and self-perpetuating, without any work on the behalf of the Neoliberal order. The systematic dehumanization, depersonalization and dislocation of African Americans must continue, but with that air of banality that cuts very close to Hannah Arendt’s own definition of the “banality of evil.” The same goes for Sierra Leone, for Syria, for Venezuela, for the Congo, for the Philippines, for North Korea, and every other nation which Westerners think to be “inferior.” Violence, dysfunction, depersonalization will be defined as “real black/brown/yellow culture” to the Neoliberal order. Come to think of it, it already is. WELCOME TO OUR WORLD.

This is something that those on the Left–those who don’t break down in tears when the shit hits the fan–need to keep in mind. The alt-right are merely the Brown Shirts in this fight; the real assholes are far deeper entrenched politically, culturally and economically, and it will take more than tears and marches to contain their reactionist fuckery. It will take discipline and organization, and patience, forbearance and absolute determination to throw out the organized criminality and insanity that passes for the New World Order.

monica-jackson-fox-5-crying-video
“Sob brother, sob sister”…
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…yet no tears from this New Afrikan socialist

*Heather Heyer (1985-2017): “If you’re not outraged, you’re not paying attention.”

¹Bleeding Kansas, part one, was a dress-rehearsal for the First Civil War. The Second has yet to begin. According to the late George Carlin, who once joked about Civil War buffs in the 80s who liked to dress up and re-enact key Civil War battles down to the last detail, they do this “just in case we have to go through this again some time.”

²Of course, no one has ever suggested that Heather Heyer should have done the same to Mr. Fields, since corporate fascists and capitalists have killed at least 250 million people since 1800. This number may in fact be quite conservative.

³Anglin’s preference for darker (and underage) girls has made him the butt of ridicule among many hardcore white supremacists. He is also suspected of being Jewish, which is not unusual, since many Nazis suspect other Nazis that they personally despise as being Jewish. 

Also: Don’t be surprised to find that a lot of Nazis prefer “dark meat.” It is more common than you think. In fact one of the main reasons why these guys are Nazis is because they can’t get a “nice,” “ladylike,” “virginal” and “loyal” white woman who will give them the sense of authority they feel they can’t get in mainstream society.

ªNearly 500 people have died in mudslides in Sierra Leone meanwhile and nobody in the US has shed a tear over their deaths except, naturally, immigrants from Sierra Leone.

Shall We Kill Them Now, or Shall We Wait Till We Get Home to Masturbate?

“This is twenty people,” cried Emily Gorcenski, a transgender woman at a violent fascist rally in Charlottesville, Virginia, on the night of August 11, 2017, “twenty people, standing against what is coming! WHERE THE FUCK ARE YOU?”

The woman was outraged at the total lack of preparedness on the part of the so-called “left” on the night of August 11, 2017. The look of absolute terror on her face was undeniable. As usual, it did not register in the American imagination except as low comedy. “Antifa tranny has major meltdown after seeing how badly they are outnumbered,”  The Saint Negro, obviously a fascist douche-bag, gleefully exclaimed. OG Redneck Moab, another fascist douche (and a cunt, apparently), chortled in response to the woman’s terror, “I can’t stop laughing!!”

“When fascism came back, forty people stood against hundreds,” Ms. Gorcenski continued.

Personally I think things are even worse than what Ms. Gorcenski said at that heated moment. Fascism came back in a myriad of clever formats. It had to if it wanted to be popular. Physical culture, dressing sharp, glamour and a free-wheeling attitude to sexuality were a few important ways that the alt-right managed to capture the imagination of bored white youths looking for alibis to express their racist and xenophobic views. The Alpha Male, Red Pill, PUA movement of the 2000s very easily took sides with the far-right for one main reason: Left-wing prissiness. The New Western Left is prudish, effeminate, snobbish and solipsistic. They are self-righteous and whiny; they are hypocrites. They are also a bunch of rag-tag slobs, especially if they are white; if they are black they tend to be spaced-out Afropunks with massive dreadlocks and crooked, uncombed Afros, knee-grows and she-grows who cry buckets whenever some dumb honky asshole calls them “niggers.”

Identity Evropa, to cite just one example is a well-tailored, clean-cut, masculine-looking bunch that looks as if they stepped out of the late 1940s. They appear to exude strength and resilience, right down to their cold, reptilian, psychopathic stares. The women of the alt-right generally are not fat, whiny slobs but slim and glamorous “ladies” like Faith J. Goldy and Lauren Southern¹–both alleged “authors,” and definitely fascists–the one being rather sly and shifty about her political affiliations and the other simply blunt and to the point about her fascism. (Note: Miss Southern is the author of Barbarians: How Baby Boomers, Immigrants and Islam Screwed My Generation.)

Ryan Beitler, writing for Paste Magazine, says bluntly that “the alt-right is larger than you think, and violence is helping them grow.” Indeed. Beitler goes on to say that “(t)he people who associate with the alt-right aren’t just re-tweeting memes and pissing people off on the internet, they’re organizing to fight for their fascist future. Violence has not only emboldened them to take up similar means of political combat, it has strengthened their cause by making them sympathetic—and therefore appealing—to young people who slip down the slope of racist ideology.”

And sadly, the alt-right is successful largely do to its violence. The glamorous edgy and sexy aspects of the alt-right are merely the icing on their stale angel food cake. The alt-right understands a basic principle that the tree-hugging white left and the shea-butter BLM chicks don’t: that Violence, with a capital fucking “V,”  is the primarily catalyst for historical change.

Peaceful protests do not move history. It’s a cold, hard fact. They don’t. There has never been a single instance in which a peaceful protest, or some sort of gentleman’s agreement, has led to significant advancements in the overall livelihood of homo sapiens sapiens. The reason for this is actually very simple. Human beings have yet to evolve to the point where contentious issues can be resolved by sitting at a round table and working out our differences, or by patting each other on our collective backs and telling each other, “we can work this out.”

Jiddu Krishnamurti, who by all accounts was not in the least violent, once said that “(t)he whole world is caught up in violence, in wars; the very structure of our acquisitive society is essentially violent.” In other words, we are all essentially born and bred and shaped in a civilization whose very foundations are built upon violence. Everything about it, and about us, is violent. The way we talk, not to mention our very vocabulary, is saturated with violence. Our clothing, our handwriting, our sexuality, our way of walking, our way of eating, even the way we breathe is violent. Our antagonism towards one another runs so deep that we are not even capable of genuinely thinking our way out of it: “Surely, it is not a question of how one is not to be violent. The fact is that we are violent, and to ask ‘How am I not to be violent?’ merely creates the ideal, which seems to me to be utterly futile. But if one is capable of looking at violence and understanding it, then perhaps there is a possibility of resolving it totally.”²

If only. Yet if we here in this decaying West are capable of observing and understanding the violence which infests the lives of so many of us–particularly those of us who are not white, and still more precisely those of us who are black–we clearly see and understand who originated it, where it originated and precisely which institutions are perpetuating it, and which social strata have been infected with it. To answer the last question, everyone is infected–even the proponents of nonviolence. “When we obey out of fear,” writes Krishnamurti, “there is violence.”

Naturally.

Naturally these nonviolent protesters think they are taking Dr. King’s words to heart when they naively confront the alt-right. Naturally, they rarely, if ever, show up with bricks and clubs, let alone machine guns–unlike the alt-right, which simply doesn’t care what any of its members do to their racial and political opponents. The alt-right is not merely just another honky minstrel show; it’s a movement made up of psychotics and social deviants* who clearly mean every thing that they say when they talk about killing niggers, kikes, gooks, spics, mudslimes and faggots. The alt-right has proven time and again that they are as willing to kill as they are to die for their goofy, antediluvian beliefs in a “white homeland.” Even the alt-lite, represented by scum like Milo, Gavin MacInness and Ben Shapiro, really aren’t kidding around. Milo really is a fascist, and a violent one, to boot. Milo does not have to put his fucking hands on anyone–all he needs to do is open his trap and speak. Of course, he believes in the First Amendment and all that crap, much like the rear-guard hacks at Infowars and Fox News do–free speech for himself and his species, that is; the rest of us, in his eyes, simply don’t count.

Neither Black Lives Matter nor their allies can really understand this; they do not realize who and what they are up against, for if they did they would have armed themselves with handguns (at the very least) before setting out to confront the alt-right in Charlottesville. Black “radicals” remain completely clueless as to the aims of the alt-right. They still imagine they are taking on a bunch of disaffected, toothless rednecks. The alt-right wants a Final Solution, and Black radical “Afropunks” want some sort of Kumbaya moment with Jared Taylor, preferably over a cup of ginseng tea. Meanwhile fascist cops in American towns and cities continue to hunt “niggers” like they hunt squirrels; they’ve been doing it for decades, but now these Afropunkass “radicals” are “tired” of it all.

Unfortunately, they have picked the wrong moment in history to be “tired” in the face of fascism.

On August 12, 2017 the “radicals” were down in Charlottesville shouting profanities at the Nazis and chanting the usual “No Nazi scum” bollocks. I call it “bollocks” because to a hardcore Nazi these chants are merely amusing, like water off a goddamned duck’s back. They were lucky to have Antifa to back them up in the streets, for at least Antifa halfway gets the fucking point concerning the alt-right. Nazis don’t understand the concept of nonviolenceThat is why one protester wound up dead at the hands of the Nazis, and why the alt-right won yet again. (Yeah, they did. They won. Score one for the Nazis and score zero for the loopy Black Lives Mammies, who all had their panties in a bunch over who shot John.)

The writing is on the wall for the African-American and he refuses to read it. It is not hard to understand why the African American refuses to read it. It is not hard to understand why this darkie will not connect the dots, and see the obvious connection between the killer cops and the alt-right’s kicking his ass in the streets. As for the latter, the cops and the alt-right are essentially on the same team–it has been well-established that the far-right has been infiltrating American law enforcement for decades, and that many, many cops who are not officially on the far-right are still, nonetheless, brutally racist towards Blacks. (Including, naturally, black, brown and yellow cops.)

As for the former–well, let’s be blunt. This soft little Negro is always willing to forgive his tormentor in the end. The Nazi has been quick to take advantage of the fact that his primary opponent (the Negro) simply has no balls. This is yet another cold, hard fact that we must contend with. The American Negro is essentially castrated; he can only assert himself physically against another, weaker Negro or, at the very least, in the bedroom. Frantz Fanon was dead accurate in his assessment when he proclaimed that “the black man is not a man” and that he wishes he were “white.” Loaded down with an anachronistic colonial-era “double consciousness,” which most Africans throughout the world long ago rid themselves of, this whitened African American–educated or uneducated–wants an “honest and forthright dialogue” with violent white supremacists–a la Cornel West, the master of dialogue and prayer vigils in the face of a rising Fourth Reich.

But no dialogue is possible with Nazis because Nazis lie. Nazis may be human but their concept of what makes a human is entirely limited to what they define as human–and we, by their definitions, simply aren’t human beings. Period. Nazi ideology only makes sense if one is willing to accept the idea that human hierarchies are natural and God-given. Of course, the current set of racial, ethnic and class hierarchies that exist throughout the world are entirely man-made, and upon close inspection are generally the product of (and are upheld by) spiteful men.

People are not born to lord it over other people simply because they have a different skin color or hair texture or nose or eye shape, or because they pray in a different temple, or because they don’t go to bed with someone of their own fucking gender. Only children believe these things, and all racists are children, as James Baldwin once said. The fact that a bunch of white thugs are incapable of growing up and facing the responsibilities of living in civilized society is not our problem. Our problem is to protect ourselves against Nazis because they use any excuse to flex their perpetually tense muscles. They use any alibi to puke out onto us the insanity and confusion raging inside their skulls. There’s no question that they are psychotically violent. The only question now is why are we still treating Nazis with kid gloves. We know what Nazis are, let’s not fool ourselves. They are our enemies–period. After so many books, documentaries, films and other media have been issued detailing the inner workings of the Nazi mind; after Hitler, after Auschwitz, after King Leopold,  after Mussolini, after Apartheid, after Jim Crow, after Pinochet–we, who supposedly understand just how horrifically destructive the ideology of white supremacy is, want to pull rank just when the alt-right is pulling out its bombs.

“It goes without saying that (Antifa’s) frustration is valid and tangible,” writes Ryan Beitler for Paste, “but the problem is that violence never effectively puts a halt to a political movement. On the contrary, it emboldens that movement to use the same tactics and gain sympathy from new supporters.” So it goes. The left is damned if it does something, apparently, but it is equally damned if it does nothing. Nonviolent protests (as we have seen) inspire their scorn but violent resistance emboldens them and encourages the alt-right to adapt ever more brutal tactics to achieve their insane goals. So far, not one member of Antifa has killed a member of the alt-right. You may say that violence is not the answer, and parrot that old shopworn homily that “an eye for an eye leaves everyone blind.” But one has to understand that this is not 1961, nor are we dealing with British colonial authorities in 1933 India who, after all, made up a tiny minority in that nation and who did not have nuclear warheads at their disposal.

The fact is that we have every legitimate reason in the world to kill the alt-right.³ We don’t have to hate them to realize that we must kill them. We don’t even need to ask why we must kill them. If we don’t kill them, they will kill us. It sounds hopelessly romantic, even corny, but it’s true. From a very practical standpoint, you cannot be complacent anywhere on this earth when the alt-right goes mainstream in the world’s only superpower. You cannot be complacent when Nazis worm their way to the top of the world’s political food chain. The last time we dragged our feet in deciding what to do with Nazis we found ourselves in a World War. If we continue to drag our feet today these Nazis will very soon be in control of the world’s largest nuclear arsenal. Do we, as a species, as homo sapiens sapiens, really need to deal with that? Do we need to face our own extinction, simply because a handful of Nordic Neanderthals disingenuously insist upon their so-called “right to free speech”?

*

Fascists in America routinely get away with violence because they know that they have a clear field of it. Urban “gangstas” are too busy killing each other. Mainstream “minority” leadership wants to stay out of such conflicts altogether. Only Antifa and New-Afrikan communists and anarchists are seriously going to challenge them, and the latter are few and far between; when they do show their faces everyone is outraged and no one is more horrified at the prospect of black terrorism than the rank-and-file Black American. When Gavin Long, a radical black blogger and ex-Marine shot three cops in Baton Rouge last July, the entire Western press frothed at the mouth (as they usually do in these instances). Mainstream Black America frothed along with mainstream White America. It had occurred to few people that Gavin Long, terrorist or no, had merely flipped the tables on a notoriously violent and corrupt police department, as had Micah Xavier Johnson in Houston; neither man was a Mau Mau, let alone an Algerian fellagha or even Huey Newton. (It is worth noting at this point that both Johnson and Long were by-products of the U.S. military machine, and both had spotless backgrounds. Neither was a stereotypical pot-smoking, gun-wielding, illiterate “thug.” Both served their country with honors.) The late Micah Johnson and the late Gavin Long were “monsters” because they had the temerity to commit “outrageous” acts against American law enforcement–“outrageous,” in Western minds, because neither Mr. Johnson nor Mr. Long were Green Mountain Boys or Sinn Fein patriots. To paraphrase James Baldwin, any black man who sees the world the way John Wayne sees it is simply “stark raving mad.” Of course, to be fair, the late white James Hodgkinson was also perceived as being rather “mad” for shooting House Majority Whip Steve Scalise; there was a bipartisan response in Congress condemning the attacks and well-wishing from all around to Representative Scalise–a homophobic bigot whose views chime very well with those of the alt-right.

To all of which I can only say–and to bring up Baldwin again–“people who treat other people as less than human must not be surprised when the bread they have cast on the waters comes floating back to them, poisoned.”

____________

¹Here we have two cracker Canucks–crackeresses, to be precise–one of whom (Miss Southern) dragged her dirty ass all the way from Canada to prevent an “invasion” of Sicily by a handful of displaced African migrants. The migrants were unarmed and apparently malnourished, but in Miss Southern’s mind they were oversexed, jihad-prone Saracens armed with hard-ons, cross-bows and scimitars. Miss Goldy-locks is a Greek Orthodox skank who sexed herself up just for the Charlottesville Massacre, and had a cameraman follow her about while she loudly complained that the fuzz wouldn’t let the fash march anymore, that her extreme-right views (and her fellow honky patriots) were being sidelined by Black Lives Matter “niggers” and Antifa “commie Jew fags.” (She didn’t use those slurs, but she was “on code” at that moment, so it didn’t matter what she said.) Her whole shtick at that moment was to flip the script on the lefties and coons about “inclusion” and “diversity,” but in a typical display of bald-faced hypocrisy, the bitch expressed “horror” and “shock” when fascist James Alex Fields, Jr., allegedly “out of fear,” ran over several protesters with a car. Goldy-locks stopped her Mata Hari shtick and began crying, “Holy shit! Holy shit!…People are badly hurt! We need medics, we need ambulances!” Actually, cunt, what we need is for people like you (and that Southern hoe) to drop dead so that shit like this doesn’t happen again.

²Jiddu Krishnamurti, The Book of Life

³Edward Snowden: “Every act of progression in our nation’s history has involved tension with law. Whether it was the abolition of slavery, whether it was the enfranchisement of women, whether it was the birth of our nation–laws were broken, and that’s because the laws were wrong.”

*In this regard, they are no different than Hitler’s Brown Shirts.