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Based on reports from American repositories of manuscripts.
Arranged in five thematic parts, "The Oral History Reader" covers key debates in the post-war development of oral history.
A broad, comprehensive foray into the debate about the legal crisis, written by one of the most respected and authoritative scholars of the legal profession.
This charming autobiography captures the life story of a fascinating woman: a Missouri girl-turned-world-class soprano who remained true to her roots through it all. Born and reared in St. Louis and proud of her origins, Helen Traubel grew up in a modest German-American family. She spent her teens and twenties singing with church choirs and quartets in the city, studying under first- rate teachers. She did not leave Missouri for New York until she was in her early thirties. Although she replaced the great Kirsten Flagstad at the Metropolitan Opera, she refused to confine herself to singing before elite crowds and prided herself on reaching a larger, more general audience via nightclubs, radio, television, and theater. St. Louis Woman is filled with candid and amusing stories as full of zest as Traubel herself. One such story details her audition for the Ford Hour, during which she suffered a terrible case of poison ivy, and the booth technicians interrupted her performance with laughter. Furious, she announced she would sing no more and started to leave. Without explanation, the technicians asked her to continue. Traubel later discovered that the higher-ups had called down to the technicians demanding they stop playing the Flagstad record and let that kid sing. The qualities that made Traubel such a notable individual are captured in this entertaining book. Her strong, independent character shines through. Outspoken and at times brutally honest, Traubel recounts her experiences at the Met, as both a popular performer and a teacher. She tells of exasperating moments when she was coaching famous pupil Margaret Truman. This is not a fact-laden examination of the singer’s Wagnerian repertory or a study of high opera; rather this engaging book introduces the reader to a nationally renowned performer who, despite her unmatched talent, retained her hometown identity and lived her life as a St. Louis woman.
Many books have been written about Appalachia, but few have voiced its concerns with the warmth and directness of this one. From hundreds of interviews gathered by the Appalachian Oral History Project, editors Laurel Shackelford and Bill Weinberg have woven a rich verbal tapestry that portrays the people and the region in all their variety. The words on the page have the ring of truth, for these are the people of Appalachia speaking for themselves. Here they recollect an earlier time of isolation but of independence and neighborliness. For a nearer time they tell of the great changes that took place in Appalachia with the growth of coal mining and railroads and the disruption of old ways. Persisting through the years and sounding clearly in the interviews are the dignity of the Appalachian people and their close ties with the land, despite the exploitation and change they have endured. When first published, Our Appalachia was widely praised. This new edition again makes available an authentic source of social history for all those with an interest in the region.