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Monson counters the romantic notion of Monk as an apolitical aesthete or isolated genius by pointing to his support of and explicit opinions on civil rights at the peak of the movement in the early 1960s. She focuses on Monk's participation in a series of concerts benefiting leading Civil Rights organizations, such as the Student Nonviolent Coordinating Committee.
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1940s, 1950s, 1960s, bebop, Carnegie Hall, Civil Rights movement, NAACP, National Association for the Advancement of Colored People, race relations, SNCC, Southern Christian Leadership Conference, Student Nonviolent Coordinating Committee, Thelonious Monk