Carole Marks, Farewell-We're Good and Gone: The Great Black Migration (Bloomington: Indiana University Press, 1989). Marks offers a comprehensive study of African American migration, including an in-depth analysis of the U.S. Census Bureau findings as well as other statistical data. Other studies on African American migration include Quintard Taylor, In Search of the Racial Frontier: African Americans in the American West, 1580-1990 (New York: Norton, 1998); and Nell Irvin Painter, Exodusters: Black Migration to Kansas After Reconstruction, The First Major Migration to The North of Ex-Slaves (New York: Norton, 1976).
2.
See, e.g., Hayward Derrick Horton, Beverlyn Lundy Allen, Cedric Herring, and Melvin Thomas, "Lost in the Storm: The Sociology of the Black Working Class, 1850-1900," American Sociological Review 65, no. 1 (2000): 128-37. Also see Janis Faye Hutchinson, Nestor Rodriguez, and Jacqueline Hagan, "Community Life: African American in Multiethnic Residential Areas," Journal of Black Studies 27, no. 2 (1996): 201-23; Robin D. G. Kelley, Race Rebels: Culture, Politics, and the Black Working Class (New York: Free Press, 1994); and Phillip Foner and Ronald L. Lewis, eds., The Black Worker: A Documentary History from Colonial Times to the Present, Vol. 4, The Black Worker During the Era of the American Federation of Labor and the Railroad Brotherhoods (Philadelphia: Temple University Press, 1979).
3.
The Pan Asian Arkestra, founded by pianist John Jang, was one of the community-centered groups that pulled musicians together to celebrate their heritage in similar ways as the Pan Afrikan Peoples Arkestra. Jang and other Asian American musicians organized their own group between 1988 and 1994. They traveled from San Francisco to Los Angeles with the intention of collaborating with the leader of the Pan Afrikan Peoples Arkestra, Horace Tapscott. Although this plan was never completely executed, the Pan Asian Arkestra showed tremendous support for the Pan Afrikan Peoples Arkestra. Soon after, musicians of other racial and ethnic backgrounds began forming their own Arkestras, celebrating both their community and ethnic heritages.
4.
Mike Davis, Ecology of Fear: Los Angeles and the Imagination of Disaster ( New York: Vintage, 1999).
5.
Other studies of African Americans in Los Angeles include Douglas Flamming, Bound for Freedom: Black Los Angeles in Jim Crow America ( Berkeley: University of California Press, 2005); and Lawrence B. De Graaf, Kevin Mulroy, and Quintard Taylor, eds., Seeking El Dorado: African Americans in California (Los Angeles: Autry Museum of Western Heritage, 2001). Although their work considers African Americans in California, many of the collection's chapters focus on Los Angeles. For other works on race in Los Angeles, see, e.g., Thomas Almaguer, Racial Fault Lines: The Historical Origins of White Supremacy in California, ( Berkeley: University of California Press, 1994); George J. Sanchez, Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles, 1900-1945 ( New York: Oxford University Press, 1993); William Deverell, Whitewashed Adobe: The Rise of Los Angeles and the Remaking of its Mexican Past (Berkeley: University of California Press, 2004); Eric Avila, Popular Culture in the Age of White Flight: Fear and Fantasy in Suburban Los Angeles (Berkeley: University of California Press, 2004); and Matt Garcia, A World of its Own: Race, Labor, and Citrus in the Making of Greater Los Angeles, 1900-1970 (Chapel Hill: University of North Carolina Press, 2001).
6.
Also see Jacqueline Jones, Labor of Love, Labor of Sorrow: Black Women, Work, and the Family from Slavery to the Present, (New York: Random House, 1985); Brenda E. Stevenson, "Latasha Harlins, Soon Ja Du, and Joyce Karlin: A Case Study of Multicultural Female Violence and Justice on the Urban Frontier,"Journal of African American History89, no. 2 (2004): 152-76.
7.
For the history of the jazz era in Los Angeles, see Jaqueline Cogell Dje Dje and Eddie S. Meadows , eds., California Soul: Music of African Americans in the West (Berkeley: University of California Press, 1998). Also see Clora Bryant, William Green, Steven L. Isoardi, Buddy Collete, and Marlin Young, eds., Central Avenue Sounds: Jazz in Los Angeles (Berkeley: University of California Press, 1998).
