Jay Z's American Fascism
Ich kann gar nicht so viel fressen, wie ich kotzen moechte: I can't eat enough to puke as much as I want to. The words of the great German-Jewish painter Max Liebermann as he watched the Nazis march through the Brandenburg Gate came to mind as I saw Ron Howard's Showtime documentary about Jay Z's 2012 "Made in America" festival. We've seen this all before: the emotive orator with a twisted face evoking surge of rage from a mass audience that responds with rhythmic arm gestures. I'm late to this discussion, to be sure:
This is the face of American fascism. Compared to the confessed crack dealer and knifer Jay Z, to be sure, Adolf Hitler was a man of high intellect and deep culture. Jay Z, our most successful and wealthiest performing artist, honored White House guest and proprietor of a pop-culture empire, is no Hitler: he lacks the talent to field a political movement, and, fortunately, does not appear to hate Jews. Fascism, though, is not ipso facto directed against Jews. Mussolini began as an anti-clerical socialist with support from a great deal of Italy's small Jewish community, and did not persecute Jews until Hitler told him to.
Who would have believed that a performing genre (it is a stretch to call it "music") dominated by convicted and confessed criminals, brutally misogynistic, preaching and practicing violence, would come to dominate American popular culture? Jay Z, who brags of dealing drugs and shooting an older brother in his youth, and pleaded guilty to stabbing a record producer, could "help shape attitudes in a real (sic) positive way," according to President Obama. Jay Z texts regularly with the president and is a regular White House visitor after opening Obama campaign rallies.
Jay Z's message to the Philadelphia crowd that Ron Howard filmed last year is the same thing he puts on the airwaves -- for example:
We formed a new religion
No sins as long as there’s permission
And deception is the only felony
So never fuck nobody without telling me
Sunglasses and Advil, last night was mad real.
Music, Jay Z told Howard's cameramen, can unite people in a way that politics and religion cannot. Everyone is a genius, everyone is oppressed. He is the prophet of a new religion: African-American music has gone from Thelonius Monk to felonius priest. Violence is not only a legitimate form of expression: it is the only manly form of expression, as in his rap "D.O.A.":
This might offend my political connects
My raps don’t have melodies
This should make niggas wan' go and commit felonies
Get your chain tooken
I may do it myself, I’m so Brooklyn!
I know we facing a recession
But the music y’all making gon' make it the Great Depression
All y’all lack aggression
Put your skirt back down, grow a set man
Nigga this shit violent
The explicit call to violence (including chain-snatching as a form of political expression) is a playful challenge to his "political connects," namely the president. One should not conclude from this that Obama favors criminal violence, but rather that the popular response to Jay Z's evocation of felonious rage is so great that Obama finds it convenient to exploit it. There is nothing at all new in any of this: we heard it before from Nietzsche in his evocation of the "blond beast's" life-affirming violence, from George Sorel, from Mussolini's call for "creative violence."
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