No. 5 of my “From the Cutting Room Floor.” This one captures almost 60% of the core thesis of the book, yet without the Antisemitic dimension of it all.
#WeimarGermany #JazzHistory #blackhistory #Histodons
@stefanihrig.bsky.social![Drawing of a Black musician playing a flute or oboe. He is dressed with a hat and a long coat. To the left of him a White woman is dancing, almost completely naked. To her left a White man dressed like a clown.
A cover from the Weimar-era magazine Der Querschnitt. Despite being (supposedly) an avant-garde publication, it perfectly channels the right-to-far-right discourse on jazz: a dangerous force that made German women sexually uninhibited and turned German men into clowns and fools DER QUERSCHNITT 2 (1926]
cut because... there were simply too many of these](https://cdn.bsky.app/img/feed_fullsize/plain/did:plc:hyij44ygagqixoyjtsxtrixo/bafkreiclwrecsszzuqcv2t2znim3m77rfsjgi4rwlcijxmfh5g3x6r5lwy@jpeg)
@stefanihrig.bsky.socialNo. 5 of my “From the Cutting Room Floor.” This one captures almost 60% of the core thesis of the book, yet without the Antisemitic dimension of it all.
#WeimarGermany #JazzHistory #blackhistory #Histodons
@stefanihrig.bsky.socialNo. 3 of my “From the Cutting Room Floor.” The first one with Josephine Baker (who became quite important in the book)
#Histodons #WeimarGermany #BlackHistory @hurstpublishers.bsky.social
![Cover of a 1920s German satirical journal showing what is supposed to be Josephine Baker and Anna May Wong with a designer
It "pokes fun" at how contemporary fashions were allegedly made-"a piece of the dark continent and a handful of light from the East." It was a contribution to the raging culture wars of the late Weimar period. (spoiler: Josephine is usually portrayed as the embodiment of beauty and the New Woman par excellence)
SIMPLICISSIMUS 9 [1928]](https://cdn.bsky.app/img/feed_fullsize/plain/did:plc:hyij44ygagqixoyjtsxtrixo/bafkreigegl33aez53sdwgulnliaopyy5h5nrjdp5vwkmyy5w3pdxbyblve@jpeg)