The painters of the fifties, including Jackson Pollock and Stuart Davis, were drawn to the clubs of Greenwich Village where bebop, the new jazz, was being played, where blacks and whites came together in racial harmony or at least in racial tolerance to each other. It's not hard to see why they were drawn to bebop with its dazzling speed and seemingly random, always electrically charged sounds. The musicians were doing in their way what the painters were doing on canvas. Each tried new techniques coming out of a time when America was transforming, when technology was slowly replacing tools, where computers were being introduced, where the norms of society no longer held the culture together