
Daniel Biro
Just read about a new book on Henry Ford who, not content with populating the world with his ubiquitous ‘Model T’ automobile in the 1920s, was apparently also keen to keep American civilisation on the right track. In his eyes this meant getting rid of ‘corrupting’ Jewish influences. Ford was a well known anti-semite and, this being the beginning of the jazz age, jazz music was anathema to him. Polkas, quadrilles and square dances reflected ‘proper American values’ but jazz was ’sex dancing’.
Interestingly, he hated the ‘abandoned sensuousness of jazz’s sliding notes’ that he claimed ‘are of Jewish origins’. Was he referring to Klezmer music and its clarinet glissandi? What about the black origins of jazz? Who influenced who?
If sliding notes were a shocking new element in Western music, it would be ironic that the poor little Jewish immigrant escaping a life of poverty and pogroms from a his Eastern European shtetl with only his clarinet under his arm would end up corrupting the ‘clean’ straight attacks of Western musical tradition with his filthy suggestive glissandi and their sensual/sexual connotations, thus changing American music forever…
This reminds me of a funny episode from my past life as a studio session musician. I was called in to play some piano on what was to be the soundtrack to a video sex-guide. In those days buying porn videos in the UK was illegal so the only way to sell sex videos over the counter was to disguise them as ‘educational’… The producers carefully explained to me that in no way could they put any electric guitars or saxophones on the soundtrack as these instruments would be seen as too raunchy and too reminiscent or ‘real’ porn films soundtracks. So there I was tinkling away new-age-type stuff while on screen these two people were humping away like rabbits.
So there you have it: to avoid any sexual suggestions in your music remove all guitars, saxophones and, above all, glissandi.
(My historical knowledge about who influenced who in the early jazz age is limited and would need clarification. A fascinating subject. Comments please.)
Daniel said:
Your post is pretty much the first thing that a search of “Ford” and “jazz” provides.
I had seen on some documentary (possibly the Ken Burns Jazz) that Ford had supported folk music as a way of getting young (white) Americans away from the decadence of jazz but there is nothing on Wikipedia on the topic.
Anyway – personally I prefer a world in which you can go swing dancing one week and square dancing the next…
Daniel Biro said:
Thanks for your comment.
Indeed trying to ‘control’ musical development in a country according to nationalistic or racial principles is always a farce.
I suppose today’s equivalent is France’s quota radio system where a certain percentage of music played on any radio station has to be French. A few years ago this led to the absurd situation of one of Jean-Michel Jarre’s songs not getting any airplay because he had used English lyrics, even though he is as French as they get.
Music has to remain a grassroots thing. I guess the media-influenced commercial brainwashing constitutes a form of imposition, but at least people still have a choice. Or do they?…