The Book-Of-The-Semester Project 2009 - 10

Introduction (pp.1 – 4)

The four basic ideas that are the foundation of StoryCorps:

1.
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2.
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3.
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4.
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Participating in the StoryCorps process:

Step One: You make an appointment to _______________. You decide who you will ________________ with you. Step Two: A facilitator greets you at ______________________________. Step Three: You go inside the ____________________________________. There is a ________________ for each person. The facilitator sits in front of an _______________ and presses ______________________. You begin to ask your ____________________. Step Four: After forty minutes, two _________________ are issued. One goes to ______________ and the other goes to ____________________________________.

Launching of StoryCorps:

1. WHEN: Type Here

2. WHERE: Type Here


3. WHO: Type Here

Since the launching:

There is another permanent booth at ______________________ and three ___________________ traveling the country year-round. Characteristics of each section: Each section represents an act of _________ and ______________. The book has ____________ stories selected from a total of _________________ interviews.

Author’s Note (p. 5)

Authenticity of the stories:  Each story was checked for the ____________________. Permission:  Participants gave __________________ for __________________________ _______________________________________________. Special requests honored:  Some participants requested that their _______________ not be included.

Home and Family (p. 9)

Three great themes of human existence of all StoryCorps interviews:

1.
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2.
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3.
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Work and Dedication (pp. 55 – 56)

Qualifications of facilitators:

1.
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2.
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What facilitators have learned from their StoryCorps service:

1.
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2.
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Journeys (pp. 103 – 104)

1. Library of Congress
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2. NPR
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History and Struggle (pp. 163 – 164)

Reason for creation of StoryCorps:
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Eventual effect of the project:
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Reversal in the way HISTORY is told:
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Fire and Water (pp. 203 – 206)

July 2005:

1. Special slots
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2. “Bearing witness”
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September 2006:

1. Mayor Michael Bloomberg
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2. Tommy Sullivan/sister Norene and mother Arlene
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Late 2005 and May 2006:

1. WHERE: Type Here


2. WHO: Type Here

The Story of StoryCorps (pp. 249 – 270)

Dave Isay’s life as a kid in New Haven in the early 1970s:

1. Parents had
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2. Grandmother Rose Franzblau
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3. At age 13
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1988:Change in direction in life from

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to

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1. Store for addicts in recovery
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2. Angel and Carmen Perez (their hope and dream)
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3. Yellow Pages
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4.  Amy Goodman, from WBAI
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5.  Tape recorder
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6.  Gary Covino, NPR
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Focus in life as a young radio producer:

1. “Ghetto Life 101”
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2. Isay’s Epiphany
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3. Impact on Isay of Series of Interviews from the 1930s and 1940s (Works Projects Administration’s Federal Writers’ Project)
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4. Insight achieved from radio documentary on the last flophouses in the Bowery
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Birth of StoryCorps in Summer 2002: 

1.  Change in focus in traditional documentary work from

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to

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2.  Figuring out the details – NEED FOR:

a.
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b.
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c.
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d.
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3.  Peggy Bulger, Director of the American Folklife Center, Library of Congress
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Piloting in early 2003

1. Uncle Sandy’s character
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2. Uncle Sandy’s reaction
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Concerns at the beginning of the project:

1.
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2.
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3.
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4.
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5.
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First successes in October 2003:

1. Facilitator about interview with a husband and wife
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2. 89-year-old grandmother and her 23-year-old grandson
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NPR in May 2005:

Facilitators’ view of “the magic of the booth”
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Appeal of the “citizen interview”
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Louisa Stephens
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Costs and Quest for Funding
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Danny and Annie Perasa
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Louisa Stephens
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Afterword (pp. 267 – 270)

Dave Isay’s hope and view of the potential of StoryCorps
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