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The authors employ the techniques of oral history to penetrate the nether world of the drug user, giving us an engrossing portrait of life in the drug subculture during the "classic" era of strict narcotic control. Praise for the hardcover edition: "A momentous book which I feel is destined to become a classic in the category of scholarly narcotic books." —Claude Brown, author of the bestseller, Manchild in the Promised Land. "The drug literature is filled with the stereotyped opinions of non-addicted, middle-class pundits who have had little direct contact with addicts. These stories are reality. Narcotic addicts of the inner cities are both tough and gentle, deceptive when necessary and yet often generous--above all, shrewd judges of character. While judging them, the clinician is also being judged." —Vincent P. Dole, M.D., The Rockefeller Institute. "What was it like to be a narcotic addict during the Anslinger era? No book will probably ever appear that gives a better picture than this one. . . . a singularly readable and informative work on a subject ordinarily buried in clichés and stereotypes." —Donald W. Goodwin, Journal of the American Medical Association " . . . an important contribution to the growing body of literature that attempts to more clearly define the nature of drug addiction. . . . [This book] will appeal to a diverse audience. Academicians, politicians, and the general reader will find this approach to drug addiction extremely beneficial, insightful, and instructive. . . . Without qualification anyone wishing to acquire a better understanding of drug addicts and addiction will benefit from reading this book." —John C. McWilliams, Pennsylvania Magazine of History and Biography "This study has much to say to a general audience, as well as those involved in drug control." —Publishers Weekly "The authors' comments are perceptive and the interviews make interesting reading." —John Duffy, Journal of American History "This book adds a vital and often compelling human dimension to the story of drug use and law enforcement. The material will be of great value to other specialists, such as those interested in the history of organized crime and of outsiders in general." —H. Wayne Morgan, Journal of Southern History "This book represents a significant and valuable addition to the contemporary substance abuse literature. . . . this book presents findings from a novel and remarkably imaginative research approach in a cogent and exceptionally informative manner." —William M. Harvey, Journal of Psychoactive Drugs "This is a good and important book filled with new information containing provocative elements usually brought forth through the touching details of personal experience. . . . There isn't a recollection which isn't of intrinsic value and many point to issues hardly ever broached in more conventional studies." —Alan Block, Journal of Social History
Robert Rauschenberg (1925–2008) was a breaker of boundaries and a consummate collaborator. He used silk-screen prints to reflect on American promise and failure, melded sculpture and painting in works called combines, and collaborated with engineers and scientists to challenge our thinking about art. Through collaborations with John Cage, Merce Cunningham, and others, Rauschenberg bridged the music, dance, and visual-art worlds, inventing a new art for the last half of the twentieth century. Robert Rauschenberg is a work of collaborative oral biography that tells the story of one of the twentieth century’s great artists through a series of interviews with key figures in his life—family, friends, former lovers, professional associates, studio assistants, and collaborators. The oral historian Sara Sinclair artfully puts the narrators’ reminiscences in conversation, with a focus on the relationship between Rauschenberg’s intense social life and his art. The book opens with a prologue by Rauschenberg’s sister and then shifts to New York City’s 1950s and ’60s art scene, populated by the luminaries of abstract expressionism. It follows Rauschenberg’s eventual move to Florida’s Captiva Island and his trips across the globe, illuminating his inner life and its effect on his and others’ art. The narrators share their views on Rauschenberg’s work, explore the curatorial thinking behind exhibitions of his art, and reflect on the impact of the influx of money into the contemporary art market. Included are artists famous in their own right, such as Laurie Anderson and Brice Marden, as well as art-world insiders and lesser-known figures who were part of Rauschenberg’s inner circle. Beyond considering Rauschenberg as an artist, this book reveals him as a man embedded in a series of art worlds over the course of a long and rich life, demonstrating the complex interaction of business and personal, public and private in the creation of great art.
Angela Zusman offers an informative guidebook with step-by-step directions for planning and implementing intergenerational oral history projects, using youth to interview elders. An expert on these programs, Zusman uses her experiences and those of other oral historians to show how community projects are organized, youthful historians located and trained, interviews conducted, and the project archived for future community needs. Included are a variety of sample documents and case studies designed to ease the process for the uninitiated.
Soul of a People is about a handful of people who were on the Federal Writer's Project in the 1930s and a glimpse of America at a turning point. This particular handful of characters went from poverty to great things later, and included John Cheever, Ralph Ellison, Zora Neale Hurston, Richard Wright, and Studs Terkel. In the 1930s they were all caught up in an effort to describe America in a series of WPA guides. Through striking images and firsthand accounts, the book reveals their experiences and the most vivid excerpts from selected guides and interviews: Harlem schoolchildren, truckers, Chicago fishmongers, Cuban cigar makers, a Florida midwife, Nebraskan meatpackers, and blind musicians. Drawing on new discoveries from personal collections, archives, and recent biographies, a new picture has emerged in the last decade of how the participants' individual dramas intersected with the larger picture of their subjects. This book illuminates what it felt like to live that experience, how going from joblessness to reporting on their own communities affected artists with varied visions, as well as what feelings such a passage involved: shame humiliation, anger, excitement, nostalgia, and adventure. Also revealed is how the WPA writers anticipated, and perhaps paved the way for, the political movements of the following decades, including the Civil Rights movement, the Women's Right movement, and the Native American rights movement.
Doing Oral History is considered the premier guidebook to oral history, used by professional oral historians, public historians, archivists, and genealogists as a core text in college courses and throughout the public history community. The recent development of digital audio and video recording technology has continued to alter the practice of oral history, making it even easier to produce and disseminate quality recordings. At the same time, digital technology has complicated the preservation of the recordings, past and present. This basic manual offers detailed advice for setting up an oral history project, conducting interviews and using oral history for research, making video recordings, preserving oral history collections in archives and libraries, and teaching and presenting oral history.
This publication offers concrete suggestions for planning, organizing, and undertaking oral history in community settings. Provides a step-by-step guide to project planning and establishing project objectives, with suggestions for identifying resources and securing funding.
Based on more than 200 interviews during 2002-2009 under the auspices of the Hmong Oral History Project. Several full-text interviews are available on the project's website.
The Twin Cities is home to one of the largest and most vital GLBT populations in the nation--and one of the highest percentages of gay residents in the country. Drawn from the pioneering work of the Twin Cities GLBT Oral History Project--a collective organization of students, scholars, and activists devoted to documenting and interpreting the lives of GLBT people in Minneapolis and St. Paul--"Queer Twin Cities" is a uniquely critical collection of essays on Minnesota's vibrant queer communities, past and present. A rich blend of oral history, archival research, and ethnography, "Queer Twin Cities" uses sexuality to chart connections between people's lives in Minnesota. Topics range from turn-of-the-century Minneapolis amid moral reform--including the highly publicized William Williams murder trial and efforts to police Bridge Square, aka 'skid row'--to northern Minnesota and the importance of male companionship among lumber workers, and to postwar life, when the increased visibility of queer life went hand in hand with increased regulation, repression, and violence. Other essays present a portrait of early queer spaces in the Twin Cities, such as Kirmser's Bar, the Viking Room, and the Persian Palms, and the proliferation of establishments like the Dugout and the 19 Bar. Exploring the activism of GLBT Two-Spirit indigenous people, the antipornography movements of the 1980s, and the role of gay men in the gentrification of Minneapolis neighborhoods, this volume brings the history of queer life and politics in the Twin Cities into fascinating focus. Engaging and revelatory, "Queer Twin Cities" offers a critical analysis of local history and community and fills a glaring omission in the culture and history of Minnesota, looking not only to a remarkable past but to our collective future.