Soundtrack to a Coup d'Etat

In January 1961, the brutal assassination of Patrice Lumumba, the first democratically elected prime minister of the newly independent Congo, sends shockwaves across the globe. Lumumba's death is a critical turning point, igniting political outrage and prompting significant protests against neo-colonialism.

On a fateful February morning in 1961, singer Abbey Lincoln and drummer Max Roach storm the UN Security Council to voice their indignation over Lumumba's assassination. Their bold action reflects the passion of many who felt betrayed by the global power dynamics that allowed such violence to occur.

As Abbey and Max express their outrage, a group of sixty fervent protesters gathers, escalating the scene into chaos. They clash with bewildered guards while diplomats look on in astonishment, symbolizing the intense struggles of decolonization during that tumultuous era.

In late 1960, sixteen newly liberated African nations join the United Nations, marking a significant upheaval in the global political landscape. This inclusion signifies a shifting balance of power and the dismantling of colonial regimes, fueling the aspirations of various liberation movements.

Soviet leader Nikita Khrushchev creates a memorable scene at the UN General Assembly when he bangs his shoe on his desk in protest. This act of defiance highlights his condemnation of Western neo-colonial exploits in Africa, particularly in the Congo, and calls attention to America's racial injustices.

King Baudouin of Belgium seeks to maintain access to the wealth of the former Belgian Congo, finding support within Dwight D. Eisenhower's administration. The U.S. government, alarmed by the potential loss of crucial resources like uranium, plays a significant role in the unfolding events in the Congo.

In a strategic move, the US State Department sends jazz icon Louis Armstrong to charm and win over the hearts of the African populace. However, unbeknownst to him, this mission serves as a diversion to distract from the forthcoming coup against Lumumba.

While Armstrong's music fills the air, a coup is orchestrated that will lead to Lumumba's assassination. This manipulation illustrates the lengths to which foreign powers will go to secure their interests in Africa during the Cold War, often at the cost of local governance.

Amidst this turmoil, Malcolm X passionately advocates for Lumumba's vision of a 'United States of Africa.' He reframes the African American struggle for civil rights as a quest for universal human rights, elevating the dialogue around decolonization and self-determination.

Prominent jazz musicians like Nina Simone and Miles Davis perform during a time of deep political unrest, torn between their art and the harsh realities of segregation. They grapple with the moral implications of their celebrity status in a society that continues to undermine equality.

As the jazz scene flourishes, activists such as Andrée Blouin and Conor Cruise O'Brien voice their concerns regarding neo-colonialism and the plight of the Congolese people. Their efforts highlight the critical intersection of art and advocacy in the ongoing fight for justice.

Khrushchev remains a vocal advocate for decolonization, emphasizing its necessity to the international community. His persistent pressure on the UN to support African nations showcases the geopolitical complexity of the Cold War and its impact on African self-determination.

The events surrounding Lumumba's assassination and the protests at the UN reverberate through history, impacting future liberation movements. The intertwining of jazz, art, and political activism serves as a poignant reminder of culture's powerful role in social change.