Jazz protest art was dismissed as madman behavior in the early sixties.

Evidence

Protest however was precisely the view that Roach and Lincoln advanced. Discussing their “protest ballet” in the hippest of the “little” literary magazines, Kulchur, the poet A. B. Spellman called it a “deliberate sacrifice of art for social message,” adding that most people regarded Roach as a madman, particularly after he “interrupted Miles Davis’s benefit for a Rockefeller-backed African research group with signs calling Governor Rockefeller down on his controlling interest in [the Congo-based, Belgian-owned mining company] Union Minière.” — J. Hoberman, Everything Is Now, 318

Categorization

• XREF: The reaction to Roach as ‘madman’ parallels the sacrificial/transgressive figure in the reader’s other books — the artist who courts social ostracism.