Later [John Coltrane and Wayne Shorter] talked about improvising and language, and how it might be ideal to start a sentence in the middle, then travel backward and forward, toward both the subject and the predicate, simultaneously.
...I mean "sound" as it has long functioned among jazz players, as a mystical term of art: as in, every musician finally needs a sound, a full and sensible embodiment of his artistic personality, such that it can be heard, at best, in a single note. Miles Davis's was fragile and pointed. Coleman Hawkins's was ripe and mellow and generous. John Coltrane's was large and dry, slightly undercooked, and urgent.
This episode in the birth control movement confirmed the ideological victory of the racism associated with eugenic ideas. It had been robbed of its progressive potential, advocating for people of color not the individual right to birth control, but rather the racist strategy of population control. The birth control campaign would be called upon to serve in an essential capacity in the execution of government's imperialist and racist population policy.