LEADER 05212nam 2200637 a 450 001 9910784662103321 005 20230607221103.0 010 $a0-19-802578-5 010 $a1-280-53212-2 010 $a1-4237-4643-0 010 $a1-60256-692-5 035 $a(CKB)1000000000363075 035 $a(StDuBDS)AH24085082 035 $a(SSID)ssj0000207532 035 $a(PQKBManifestationID)11202247 035 $a(PQKBTitleCode)TC0000207532 035 $a(PQKBWorkID)10236960 035 $a(PQKB)10286883 035 $a(MiAaPQ)EBC279432 035 $a(MiAaPQ)EBC2033549 035 $a(Au-PeEL)EBL2033549 035 $a(OCoLC)958550736 035 $a(EXLCZ)991000000000363075 100 $a20010827e20012000 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMyself when I am real$b[electronic resource] $ethe life and music of Charles Mingus /$fGene Santoro 210 $aNew York ;$aOxford $cOxford University Press$d2002 215 $a1 online resource (x, 452 p., [16] p. of plates ) $cill., ports 300 $aOriginally published: 2000. 300 $aIncludes index. 311 $a0-19-509733-5 311 $a0-19-514711-1 320 $aIncludes bibliographical references (p. 391-399). 320 $aDiscography: (p. 401-424). 327 $aPreface; Introduction; Prologue: Better Get It In Your Soul; 1. Growing Up Absurd; 2. Black Like Me; 3. Making the Scene; 4. Life During Wartime; 5. Portrait of the Artist; 6. The Big Apple, or On the Road; 7. Pithecanthropus Erectus; 8. Mingus Dynasty; 9. Camelot; 10. The Black Saint and the Sinner Lady; 11. One Flew over the Cuckoo's Nest; 12. Beneath the Underdog; 13. Let My Children Hear Music; 14. Changes; 15. Don't Be Afraid, the Clown's Afraid, Too; Notes; Bibliography; Discography; Acknowledgements; Index 330 $aMusic critic Gene Santoro strips away the myths shrouding jazz's angry man, revealing Mingus as more complex than even his lovers and close friends knew. A pioneering bassist and composer, Mingus redefined jazz's terrain. 330 $bA pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spannig gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. But Mingus got headlines less for his art than for his volatile and often provocative behaviour, which drew fans who wanted to watch his temper suddenly flare onstage. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians, which is why some of them called it "the Sweatshop". He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Jey sidemen stayed with him for years and even decades. In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracila background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian decent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racila injustice. Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvistation flowing through the work of Allen Ginsbert, Jackson Pollock, and Charlie Parker. Indeed, unlike most jazz biographers, Santoro examines Mingus's etra-musical influences - from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary - and illuminates his achievement in the broader cultural context it demands. Written in a lively, novelistic style, "Myself When I Am Real" draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made. 606 $aJazz musicians$zUnited States$vBiography 606 $aBiography$2ukslc 608 $aElectronic books.$2lcsh 615 0$aJazz musicians 615 7$aBiography. 676 $a781.65092 700 $aSantoro$b Gene$01502199 801 0$bStDuBDS 801 1$bStDuBDS 801 2$bStDuBDSZ 801 2$bUkPrAHLS 906 $aBOOK 912 $a9910784662103321 996 $aMyself when I am real$93729818 997 $aUNINA