Aesthetics of Resistance: Charles Mingus and the Civil Rights Movement
This book illuminates the various ways in which Charles Mingus's music interacted with the sociocultural movements of the late 1950s and early 1960s. It explores the artist as a pioneer of an idiomatic aesthetics of resistance in jazz music that is rooted in African American traditions and is much more than merely a form of protest. Mingus's music presents a continuous challenge to an unimaginative, streamlined culture built on racism and conformity by openly protesting against it, by questioning its historical foundations, and by exemplifying its countercultural antithesis. (Series: MasteRResearch - Vol. 4)
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1950s and early aesthetics of resistance African American culture African American musicians argues audience band mates Baraka bass bassist bebop bebop musicians blues Charles Mingus Charlie Parker chord church Civil Rights Movement Clown composer composition cool jazz countercultural counterfestival Dannie Richmond Debut Records DeVeaux direct action campaigns Dolphy’s drums Eric Dolphy exempliſes express Fables of Faubus freedom gospel music Haitian Fight Song Hentoff ibid ideas identiſable improvisation inƀuence individual instruments jam session jazz artists jazz music jazz musicians label liner notes listening mainstream Martin Luther King mass culture Max Roach melody Mingus’s music motif mule Music Example music industry musical interaction Newport festival Newport Jazz Festival Norvo Original Faubus Fables Orval Faubus play Priestley proſt racial racism reƀected Red Norvo rhythm Roach role Santoro segregation ſght signiſcance ſnally ſnancial ſnd social solo Sonny Sonny’s spontaneous ſrst student sit-ins style swing traditional voice wanted