In this revised and updated edition of The Dark Tree, Steven L. Isoardi tells the story of Horace Tapscott and the Pan Afrikan Peoples Arkestra, a community arts group in Los Angeles that provided community-oriented jazz and jazz training for African American musicians, poets, playwrights, and artists for four decades.
In this revised and updated edition of The Dark Tree, Steven L. Isoardi tells the story of Horace Tapscott and the Pan Afrikan Peoples Arkestra, a community arts group in Los Angeles that provided community-oriented jazz and jazz training for African American musicians, poets, playwrights, and artists for four decades.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Steven L. Isoardi is an independent scholar; editor of Songs of the Unsung: The Musical and Social Journey of Horace Tapscott, also published by Duke University Press, and Jazz Generations: A Life in American Music and Society; and coeditor of Central Avenue Sounds: Jazz in Los Angeles. He is the author of The Music Finds a Way: A PAPA/UGMAA Oral History of Growing Up in Postwar South Central Los Angeles.
Inhaltsangabe
Preface to the Second Edition ix Acknowledgments xv 1. Ancestral Echoes: Roots of the African American Community Artist 1 2. Ballad for Samuel: The Legacy of Central Avenue and the 1950s Avant-Garde in Los Angeles 19 3. Lino’s Pad: African American Los Angeles and the Formation of the Underground Musicians Association (UGMA) 43 4. The Giant is Awakened: The Watts Uprising and Cultural Resurgence 69 5. Warriors All: UGMA in the Middle of It 117 6. The Mothership: From UGMA/UGMAA to the Pan Afrikan Peoples Akrestra and UGMAA 141 7. To the Great House: The Arkestra in the 1970s 179 8. Thoughts of Dar es Salaam: The Institutionalization of UGMAA 215 9. At the Crossroads: The Ark and UGMAA in the 1980s 259 10. The Hero’s Last Dance: The ’90s Resurgence 285 11. Aiee! The Phantom: Horace Tapscott 311 12. The Black Apostles: The Arkestra/UGMAA Ethos/Aesthetic: Music, Artists, Community 341 Epilogue: The Post-Horace Pan African Peoples Arkestra 363 Appendix: A View from the Bottom: The Music of Horace Tapscott and The Pan Afrikan Peoples Arkestra, by Roberto Miranda 369 Notes 379 Bibliography 407 Index 425
Preface to the Second Edition ix Acknowledgments xv 1. Ancestral Echoes: Roots of the African American Community Artist 1 2. Ballad for Samuel: The Legacy of Central Avenue and the 1950s Avant-Garde in Los Angeles 19 3. Lino’s Pad: African American Los Angeles and the Formation of the Underground Musicians Association (UGMA) 43 4. The Giant is Awakened: The Watts Uprising and Cultural Resurgence 69 5. Warriors All: UGMA in the Middle of It 117 6. The Mothership: From UGMA/UGMAA to the Pan Afrikan Peoples Akrestra and UGMAA 141 7. To the Great House: The Arkestra in the 1970s 179 8. Thoughts of Dar es Salaam: The Institutionalization of UGMAA 215 9. At the Crossroads: The Ark and UGMAA in the 1980s 259 10. The Hero’s Last Dance: The ’90s Resurgence 285 11. Aiee! The Phantom: Horace Tapscott 311 12. The Black Apostles: The Arkestra/UGMAA Ethos/Aesthetic: Music, Artists, Community 341 Epilogue: The Post-Horace Pan African Peoples Arkestra 363 Appendix: A View from the Bottom: The Music of Horace Tapscott and The Pan Afrikan Peoples Arkestra, by Roberto Miranda 369 Notes 379 Bibliography 407 Index 425
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