http://www.verlaine.pro.br/txt/adorno-on-jazz.pdf p 17 - jazz and sex and marching
... If one wanted to describe the phenomenon of interference in jazz in terms of broad and solid concepts of style, one could claim it as the combination of salon music and march music. The former represents a individuality which in truth is none at all, but merely the socially produced illusion of it; the latter is an equally fictive community which is formed from nothing other than the alignment (Gleichrichtung) of atoms under the force that is exerted upon them...
... Thus jazz can easily be adapted for use by fascism. .
The history of the social function of jazz, the tendency to disenchant the the dance, has yet to be written, and to be transposed subsequently into its opposite, a new magic. The gait of the bourgeois individual which is no longer connected to magic can be transformed, by the command of rhythm, into a march...
p 21 jazz and the eccentric or clown:
The most precise precursor of this jazz subject took shape on the pre-war variety stage - therefore the question of extent to which the first tap-dances stem from the variety theatre is factually of the utmost importance for a comprehensive theory of jazz. The eccentric may be taken as a model for the jazz subject - one of the oldest and most famous pieces of artistic music which is similar to jazz bears the title General Lavine, Eccentric, with the subtitle, dans le mouvement at le style d'un cake-walk ("following the movement and style of the cakewalk"). The eccentric can first of all be understood as the strict antithesis of the clown. If the clown is the one whose anarchist and archaic immediacy cannot be adapted to the reified bourgeois life, and becomes ridiculous before it - fragmentary, but at the same time allowing it to appear ridiculous - the eccentric certainly is as much excluded from instrumental regulation, from the "rhythm" of bourgeois. He is, like the clown, the crank and outsider and may well verge on the ridiculous. But his exclusion manifests itself immediately - not as powerlessness (Ohnmacht), but rather as superiority, or the appearance of it; laughter greets the the eccentric only to die away in shock, and, with his ridiculous, that of society also elegantly drops out of sight. The rhythm of his arbitrariness is subordinated without a rupture to a greater, more lawful rhythm; and his failure is located not below, but above the standard: to obey the law and yet be different. This type of behavior is taken over, bound up with the gradual abandonment of the traces of playful superiority and liberal difference, by the "hot" subject. Even externally, the jazz practice of the best orchestras always maintains eccentric elements...
p.22
... The decisive intervention of jazz lies in the fact that this subject of weakness takes pleasure precisely in its own weakness, almost as if it should be rewarded for this, for adapting itself into the collective that made it so weak, whose standard its weakness cannot satisfy. In psychological terms, jazz succeeds in squaring the circle. The contingent ego as a member of the bourgeois class is blindly abandoned on principle to social law. By learning to fear social authority and experiencing it as a threat of castration - and immediately as fear of impotence - it identifies itself with precisely this authority of which it is afraid. In exchange, however, it now suddenly belongs to it and can "dance along." The "sex appeal" of jazz is a command: obey, and then you will allowed to take part. And the dream-thought, as contradictory as reality, in which it is dreamt: I will only be potent once I have allowed myself to be castrated...