LA DELEUZIANA – ONLINE JOURNAL OF PHILOSOPHY –ISSN 2421-3098 N. 10 / 2019 – RHYTHM,CHAOS AND NONPULSED MAN 116 The Cry of the Body Without Organs: a Schizoanalysis of Ed Bland’s Critical Race Theory of Jazz by PADDY FARR Abstract Through an analysis of the film The Cry of Jazz, the Afro-Futurism of Ed Bland is contrasted with the schizoanalysis of Deleuze and Guattari to demonstrate both the application of schizoanal- ysis to jazz theory and the application of Afro-Futurism to schizoanalysis. In the first part, Bland’s critical race theory of jazz is outlined through the dialogue provided by the protagonist Alex in The Cry of Jazz demonstrating the dialectical Hegelianism of Bland’s analysis. Bland’s theory of jazz is sifted through a reading of Deleuze’s Difference and Repetition as a critique of Hegelianism. Through an elaboration of jazz theory, the Deleuzian concepts of difference and repetition develop further Bland’s jazz theory leading to the death of jazz and the potential becoming of a new Amer- ica. The survival of the spirit of jazz after death is demonstrated through the body without organs. Here, Bland’s Afro-Futurist critical race theory comes into focus as a pure affectivity that decom- poses the boundaries of musicality and the social condition simultaneously. In 1977, the Sex Pistols released their hit single, rising to number 2 on the UK Singles Chart, «God Save the Queen». In the song, singer Johnny Rotten roared, «Don’t be told what you want; Don’t be told what you need; There’s no future; No future; No future for you». This sentiment that the future was lost and that the present repeated without eter- nally was felt across the world as politics became more conservative and social change began a regression. At the same time, the Sex Pistols as invented by Malcolm McLaren were never meant to be anything larger than a commodity fetish to be consumed by a desperate youth faced with no future. It was for this reason that in 1978, the punk rock band Crass declared that «punk is dead». In the song, Steve Ignorant calls out, «I see the velvet zippies in their bondage gear; The social elite with safety-pins in their ear; I watch and understand that it don’t mean a thing; The scorpions might attack, but the systems stole the sting». Unlike the Sex Pistols, Crass was self-consciously political in their revolt against capitalism. For them and the anarcho-punk current which followed, the death of punk meant the rise of a different form of art and protest where social and cultural change became the driving force for rebellion. Nearly 20 years prior, and for very similar reason, Ed Bland had pronounced the same fate to jazz: «jazz is dead» (Hill, Kennedy & Bland 1959).