In its origin, cool was a creation of African-American jazz musicians to face the pressure of Jim Crow arrangements during a time when the United States was an unembarrassedly racialist white society. At various points in its history, cool was, in Dinerstein’s language, “the aestheticizing of detachment,” “an emotional mask, a strategy of masking emotion,” “a public mode of covert resistance,” “a walking indictment of society,” “relaxed intensity” played out through the jazz musician, who was “global culture’s first non-white rebel.”