More than eighty years ago, a then-obscure German philosopher wrote an
essay that foresaw the essential reason behind President Donald Trump’s
enduring political appeal. His name was Walter Benjamin; born to a Jewish
family in Berlin, Benjamin was present for a pivotal moment in history, and
watched Hitler rise to power. By the time he wrote his most famous essay,
he was an exile living in France amidst financial hardships, having
recognized that the Reichstag fire three years earlier signified that the
Nazis had achieved total power in Germany.

In 1936 — as Hitler was violating international treaties with impunity and
preparing Germany for war (a threat that many Western powers did not take
seriously) — Benjamin, a Marxist and a Jew who was thus obviously opposed
to the Nazis, postulated that modern fascists succeed when they are
entertainers. Not just any entertainer — a circus clown or a
juggler-turned-fascist wouldn’t do. Specifically, modern fascists were
entertainers with a distinct *aesthetic*, one that appeals to mass
grievances by encouraging their supporters to feel like they are personally
expressing themselves through their demagogue of choice.

Benjamin’s insight, which appears to have been largely forgotten, is that
keeping fascism out of power means recognizing how they use aesthetic
entertainment to create their movements. That does require us to admit,
cringe-inducing though it may be, that Trump is an artist — albeit a tacky,
shallow and transparently self-aggrandizing one. More importantly, his
movement, the MAGA crowd, has a distinct aesthetic which he has created and
honed for them.

https://www.alternet.org/2020/12/trumpism/


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