24,135 research outputs found
Interview with Dr. Alan Hall
No full textAudio recording and transcript of Dr. Alan Hall's 1979 interview with Myrtle Bergren for the Coal Tyee History Project. During the interview Hall reflects on both his and his father's careers as mine doctors in Nanaimo. He talks about coal mining accidents, mine rescue work, and compensation for injured miners. Hall shares some of his impressions of Nanaimo's Chinese community, and he also reflects on how medical care has changed since he was practicing.https://library.viu.ca/libinfo/harmfullanguagestatementhttps://viuspace.viu.ca/bitstream/handle/10613/86/CoalTyeeHallScript1979.pdf?sequence=
Let me ride (Vera Hall)
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Commentary by Vera Hall on spiritual lyrics
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Commentary by Vera Hall on her troubles
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Commentary by Vera Hall on interracial relationships
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Commentary by Vera Hall on her family. Session I
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Interview with Vera Hall about playing church and singing
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Request by Alan Lomax for the song \u27Riding in a buggy\u27
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Commentary by Vera Hall on hide and seek
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
Interview with Vera Hall about dance steps and patting
No full textThese recordings of oral history, play songs, blues, spirituals, and stories were made in 1948 when Alan Lomax invited Vera Hall to come from her home in Livingston, Alabama, to New York City for a concert. Vera Hall\u27s mother had been a slave, and Vera\u27s date of birth was not recorded. Her artistry and repertoire were brought to John A. Lomax\u27s attention by Ruby Pickens Tartt, a painter and folklorist from Livingston who introduced Vera and her cousin, Dock Reed, to him in 1937. The elder Lomax recorded her again in 1940, describing her as having \u27the loveliest voice I had ever recorded.\u27 Alan Lomax used the oral histories of Vera Hall and Dock Reed as the basis of The Rainbow Sign (New York: Duell, Sloan and Pearce, 1959), a study of African-American spirituality. After her death in 1964, Alan Lomax said: \u27It is from singers like Vera Hall that all of us who love folk music in America have everything to learn. Her performances were all graced with dignity and with love. Her sense of timing and beat were perfection itself. But all this is analysis. The mystery of Vera Hall and her art, while hinted at in the recordings we will always treasure, lies buried in the state where once the stars fell.\u27 For a summary of Vera Hall\u27s life see Gabriel Greenberg\u27s article, reproduced at www.alan-lomax.com. In 2005 Vera Hall was inducted into the Alabama Women\u27s Hall of Fame
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