text:
Phi Mu Alpha Sinfonia Fraternity of America
Robert A. Harris
Music professor and conductor Robert A. Harris was born on January 9, 1938 in Detroit, Michigan. His father, Major Harris, was a factory worker; his mother, Rusha Harris, a homemaker. Harris attended Sherrill Elementary and graduated from Charles Chadsey High School in 1956. He studied at Wayne State University where he earned his B.A. degree in music education in 1960 and his M.A. degree in music on 1962. Harris briefly attended the Eastman School of Music in Rochester, New York and then received his Ph.D. degree in composition and theory from Michigan State University in 1971. He also completed post-doctoral work at Aspen Music School in 1973 and 1974.
In 1960, Harris was hired as a music teacher in the Detroit Public Schools. He was then appointed as an assistant professor of music at Wayne State University. Harris became Director of Choral Activities at Michigan State University in 1964, and then joined the faculty of Northwestern University's Bienen School of Music as professor of conducting and director of choral organizations in 1977. He has also served as a visiting professor at Wayne State University, the University of Texas, and the University of South Africa in Pretoria. In 2012, Harris retired as professor emeritus at Northwestern University. Harris has appeared as a conductor, choral clinician and adjudicator throughout the United States and in the Republic of China where he served as one of two guest conductors/clinicians for the Taipei Philharmonic Choral and Conducting Workshop. His international performances also include South Korea as the guest conductor for the Inchon City Chorale, and Hong Kong as a guest conductor of a Choral Festival Youth Chorale. As an international music instructor, Harris has presented master classes, workshops, and lectures on conducting in South Africa, as well as presenting lectures and master classes on African American spirituals in Argentina.
Harris served as a member and co-chair of the Choral Panel of the National Endowment for the Arts. Harris is associated with a number of professional and honorary organizations, including the American Choral Directors Association, the American Society of Composers and Publishers (ASCAP), Chorus America, Pi Kappa Lambda National Honor Music Society and Phi Mu Alpha Professional Music Fraternity.
Harris has received several awards and honors, including the Wayne State University "Alumni Arts Achievement Award in Music," the Northwestern University School of Music "Faculty Exemplar Teaching Award," and the Northwestern University Alumni Association "Excellence in Teaching Award." As a composer, Harris has been the recipient of over forty commissions from various schools, churches and musical organizations. His compositions, especially those of the choral genre, have been performed throughout the United States, Europe and South Africa. A number of his compositions have been published.
Robert A. Harris was interviewed by The HistoryMakers on August 25, 2013.
A2013.234
Interview Date
Maker Category
American Choral Directors Association (ACDA)
Alpha Phi Alpha Fraternity, Incorporated
Phi Kappa Lambda
National Collegiate Choral Organization (NCCO)
American Society of Composers, Authors and Publishers (ASCAP)
Phi Kappa Phi
Sherrill Elementary School
Chadsey High School
Eastman School of Music, University of Rochester
Aspen Music School
Birth City, State, Country
HM ID
HAR43
Favorite Season
THM DA Link
http://marc.thehistorymakers.org/thmdigital/A2013.234.htm
Web Clip 1
https://thmdaprodmedia.blob.core.windows.net/media/story/video/159978
Favorite Vacation Destination
It's Better to Have It and Not Need It Than to Need It and Not Have It.
Bio Photo
Speakers Bureau Region State
Birth Place Term
Speakers Bureau Region City
Conductor and music professor Robert A. Harris (1938 - ) , former Director of Choral Activities at Michigan State University, retired as professor emeritus of the Northwestern University Bienen School of Music in 2012.
Detroit Public Schools System
Timing Pairs
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DAStories
Tape: 1 Story: 1 - Slating of Robert A. Harris' interview
Tape: 1 Story: 2 - Robert A. Harris lists his favorites
Tape: 1 Story: 3 - Robert A. Harris describes his mother's family background
Tape: 1 Story: 4 - Robert A. Harris talks about his adoptive father's, Major Lee Harris', first name
Tape: 1 Story: 5 - Robert A. Harris talks about his adoptive parents
Tape: 1 Story: 6 - Robert A. Harris talks about his biological father and being adopted by his aunt and uncle
Tape: 1 Story: 7 - Robert A. Harris describes his early exposure to the Baptist and Methodist churches
Tape: 1 Story: 8 - Robert A. Harris lists his siblings
Tape: 1 Story: 9 - Robert A. Harris describes his childhood neighborhood in Detroit, Michigan
Tape: 1 Story: 10 - Robert A. Harris describes the sights, sounds and smells of his childhood
Tape: 1 Story: 11 - Robert A. Harris describes his exposure to jazz and bebop music as a child
Tape: 2 Story: 1 - Robert A. Harris recalls attending shows at the Paradise Theater and the Detroit Symphony Orchestra in Detroit, Michigan
Tape: 2 Story: 2 - Robert A. Harris talks about his music education and instructors at Sherrill Elementary School in Detroit, Michigan
Tape: 2 Story: 3 - Robert A. Harris talks about his extracurricular activities at Chadsey High School in Detroit, Michigan
Tape: 2 Story: 4 - Robert A. Harris talks about his maternal uncle
Tape: 2 Story: 5 - Robert A. Harris talks about black history organizations and clubs in Detroit, Michigan
Tape: 2 Story: 6 - Robert A. Harris talks about his mentors at Chadsey High School in Detroit, Michigan
Tape: 2 Story: 7 - Robert A. Harris remembers collecting classical music records and receiving a gift from a choir director as a child
Tape: 2 Story: 8 - Robert A. Harris explains the history of African American spirituals
Tape: 2 Story: 9 - Robert A. Harris talks about sacred anthems and oratorios
Tape: 2 Story: 10 - Robert A. Harris talks about Leonard Bernstein's influence on his classical music interest
Tape: 2 Story: 11 - Robert A. Harris recalls listening to jazz pianist, Alice Coltrane
Tape: 3 Story: 1 - Robert A. Harris describes an experience of racial stereotyping by a teacher at Sherrill Elementary School in Detroit, Michigan
Tape: 3 Story: 2 - Robert A. Harris talks about his college preparatory curriculum at Chadsey High School in Detroit, Michigan
Tape: 3 Story: 3 - Robert A. Harris talks about his decision to study music in college and his first conducting experience
Tape: 3 Story: 4 - Robert A. Harris talks about his decision to attend Wayne State University in Detroit, Michigan
Tape: 3 Story: 5 - Robert A. Harris describes integrating a Detroit, Michigan restaurant and a Washington D.C. hotel pool
Tape: 3 Story: 6 - Robert A. Harris talks about his mentors at Wayne State University in Detroit, Michigan
Tape: 3 Story: 7 - Robert A. Harris talks about his music education curriculum at Wayne State University in Detroit, Michigan
Tape: 3 Story: 8 - Robert A. Harris talks about teaching in the Detroit Public Schools while studying for his Master's degree at Wayne State University
Tape: 3 Story: 9 - Robert A. Harris recalls his decision to join the faculty at Wayne State University in Detroit, Michigan
Tape: 3 Story: 10 - Robert A. Harris talks about his Master's thesis on 1920s African American classically trained musicians and hearing Paul Robeson sing in Detroit, Michigan
Tape: 4 Story: 1 - Robert A. Harris talks about teaching at Wayne State University in Detroit, Michigan
Tape: 4 Story: 2 - Robert A. Harris talks about black music ensembles in Detroit, Michigan and Chicago, Illinois
Tape: 4 Story: 3 - Robert A. Harris recalls his decision to stop his doctorate studies at Eastman School of Music in Rochester, New York
Tape: 4 Story: 4 - Robert A. Harris talks about earning his Ph.D. and teaching at Michigan State University in East Lansing, Michigan
Tape: 4 Story: 5 - Robert A. Harris talks about composing choral music and meeting Eva Jessye
Tape: 4 Story: 6 - Robert A. Harris talks about joining the faculty of Northwestern University's Bienen School of Music in 1977
Tape: 4 Story: 7 - Robert A. Harris talks about the differences between Michigan State University and Northwestern University
Tape: 4 Story: 8 - Robert A. Harris talks about the students at Northwestern University in Evanston, Illinois
Tape: 4 Story: 9 - Robert A. Harris talks about the music faculty at Northwestern University in Evanston, Illinois
Tape: 4 Story: 10 - Robert A. Harris talks about teaching conducting at Northwestern University in Evanston, Illinois
Tape: 5 Story: 1 - Robert A. Harris describes the role of the conductor
Tape: 5 Story: 2 - Robert A. Harris describes his conducting philosophy and conducting 'Not In Our Time' by Richard Blackford
Tape: 5 Story: 3 - Robert A. Harris talks about preparing for a performance and explains how a musical composition translates into a performance
Tape: 5 Story: 4 - Robert A. Harris talks about Bach, Mozart, and Beethoven
Tape: 5 Story: 5 - Robert A. Harris talks about black composers and conductors in Chicago, Illinois
Tape: 5 Story: 6 - Robert A. Harris talks about his own compositions
Tape: 5 Story: 7 - Robert A. Harris talks about writing for choral ensembles and solo vocalists
Tape: 5 Story: 8 - Robert A. Harris talks about classical church music in Chicago, Illinois
Tape: 5 Story: 9 - Robert A. Harris talks about former students
Tape: 5 Story: 10 - Robert A. Harris talks about conducting internationally and in New York City
Tape: 6 Story: 1 - Robert A. Harris talks about musical collaborations
Tape: 6 Story: 2 - Robert A. Harris talks about the Winnetka Congregational Church in Winnetka, Illinois
Tape: 6 Story: 3 - Robert A. Harris describes his dream choral ensemble
Tape: 6 Story: 4 - Robert A. Harris talks about retirement
Tape: 6 Story: 5 - Robert A. Harris reflects upon his legacy
Tape: 6 Story: 6 - Robert A. Harris talks about his satisfaction with his life and career
Tape: 6 Story: 7 - Robert A. Harris describes his hopes for the African American community
Tape: 6 Story: 8 - Robert A. Harris talks about his family
Tape: 6 Story: 9 - Robert A. Harris describes how he would like to be remembered
Tape: 7 Story: 1 - Robert A. Harris narrates his photographs
DASession
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DATape
DAStory
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Robert A. Harris talks about his Master's thesis on 1920s African American classically trained musicians and hearing Paul Robeson sing in Detroit, Michigan
Robert A. Harris describes his conducting philosophy and conducting 'Not In Our Time' by Richard Blackford
Let me go back a little bit and ask you about your thesis, I guess, and--$$Okay.$$So you had to do something.$$I had to do a thesis for my master's degree.$$Right, right. So what, what did you do?$$It was a--it was an oral history, isn't this interesting, called 'Serious Music and the Negro Musician Between 1920 and 1924: An Oral History.' And what I wanted to do was to, to trace what had happened with black musicians who were classically trained rather than in jazz in the early days, and so what I did was with the help of a--of a librarian and a--and a--and a gentleman by the name of Kemper Harrell who also became an, an influence and mentor, was to--he gave me the names of many living black musicians who had, were performing during that time like Roland Hayes, Carl Diton, I mean there was--and so we earmarked five people. And what I did was I went with a tape recorder and I formulated a series of questions that I would ask everybody and then specific questions for that particular individual, and went to New York [City] and Boston [Massachusetts] and interviewed these people on tape, and then transcribed those tapes as a part of my--that was my master's thesis.$$Okay. So interviews with five people? And Roland Hayes was one?$$Roland Hayes was one.$$Okay. Who, who else? Roland Hayes--$$Carl Diton, D-I-T-O-N, who was a composer, Melville Charlton, C-H-A-R-L-T-O-N, who was a concert organist, Charlotte Wallace Murray who was a concert singer--who else was there? There's one more person I'm missing.$$Okay, so that's--$$I interviewed [Francis] Hall Johnson, too, but I couldn't--but he was--he had just had a stroke so I couldn't use that because he could hardly speak, but I did get a chance to meet him. There's somebody whose name--it'll come to me in a minute.$$Okay.$$But--and so what I did was transcribe these into a format with question, answer, question, answer, question, answer, and then at the end, summarize what were the findings of how black musicians--and the reason I--the reason I--I stopped at 1924 because that was the time when Roland Hayes made his Town Hall [Carnegie Hall, New York, New York] debut and he was the first black artist to make--to sing in, in, in Carnegie Hall--Town Hall, in New York [sic, Sissieretta Jones first performed at Carnegie Hall in 1892]. So I was interested in what--and, and the whole thing was, we just found that the churches had always been the, the, the venue where concert artists would, would perform because they were not allowed to perform in concert halls.$$Were the black universities or historically black colleges [HBCUs]--$$That, that would be different--yeah.$$--Producing most of the--$$Yeah, and, and they could perform at--in, in, in black colleges and churches, but not in, in traditional concert halls. And so Roland Hayes made his, his Town Hall debut in 1924, which was the first time that that had happened, and then after that, of course.$$Okay.$$And this predated Marian Anderson and this predated--Paul Robeson was, was, was along at that time, too, but he was a young man at that point, yeah. I didn't get a--he was--he would have been a part of that, that, that age group at that time, but he was not one of the people--persons I had the chance to interview.$$Right, I think he was--$$He was born somewhere around 1890 [sic, 1898], wasn't he? I think somewhere in that--around that time.$$Yeah, he was kind of in--this time was a--or by '62 [1962], he was almost in seclusion or something.$$Well, you know, he had gone through that thing about being a Communist and all that stuff, you know.$$Right, he passed away in '76 [1976] I remember now.$$Yeah, okay.$$But he was--he had been pretty much in seclusion almost for--$$Yeah, by that time--$$--For about ten years.$$--He, he was probably eighties. You know, he couldn't--you know, but he was--he was a force to be reckoned with as a musician, as an actor, as an activist, you know. I remembered in Detroit [Michigan] when I was the music--minister of music at Hartford Avenue Baptist Church [later, Hartford Memorial Baptist Church, Detroit, Michigan], Reverend Charles A. Hill who had been one of the first black people to run for the city council in Detroit used to bring Paul Robeson in to do concerts.$$And so did you see him live at--$$One time--yeah, I did.$$Oh, that's something, yeah. Yeah, one of the great musicians, singers, as well as an activist.$$Yeah.$$Did, did, did he give a message in his--$$I don't--I don't--I don't remember him speaking, I mean, except while he was singing, but, but he was such a powerful presence.$$The songs were like freedom songs--$$Freedom songs, spirituals.$$--They had themes--(simultaneous)--$$And he--but he also did a lot of, of German lieder [songs] and things along that line. He did a lot of stuff from the European tradition. He was a very highly trained singer.$$There's a history of blacks in classical music that goes way, way back and--who was that, Sissieretta Jones--$$Sissieretta Jones.$$--Yeah, and--$$Yeah, she was known as the Black Patti, Sissieretta Jones. And, and her name came up a lot when I was talking--doing my interviews with the people that I--comprised my, my thesis. And--I'm tryin' to think, there's another singer who, who also, in, in addition to Sissieretta Jones whose name kept coming up. I can't remember who it is now.$$Yeah, yeah there's a--there's a book--now was the book--we interviewed--we had a chance to interview him before he passed away, but we interviewed [HM] Raoul Abdul, the author of 'Blacks in Classical Music.'$$Right.$$Was that available when you were--$$Yes, it was.$Do you have like favorite conductors?$$I think for specific pieces, you know. It might be--but I mean I'm not one who has to--has to have [Georg] Solti or has to have [Arturo] Toscanini or something. I just--you know, I--I'm more about the music than I am about who's conducting it.$$Now, what's your own philosophy of conducting?$$My philosophy of conducting is that I must do the very best job I can of making what is on that paper come alive so that the listener will hear it and be pleased by what he or she hears and knowing the fact that it's being done with a--with thought, with integrity, with honesty, which is what I always try to, to get my students to understand, that the compos--that our purpose is to reveal the composer, and if we are going to do his or her music, we must do it to the very best of our ability with all the studying and insight that we can.$$Is there a--is there a certain composer whose work is the most challenging to conduct?$$It's all challenging. But I would think--it--it's, it's challenging in different ways, you know. I'm--I'm a strong--I mean, I think if there's one composer that--if you were to say to me you could--you're going to a desert island, you can only take one piece of music, what would you take? I'd take [Johann Sebastian] Bach, okay. Because I feel it--I--I'm drawn to the intellectuality of that--of his music, of the way he thought, of the--of the--of the way his concepts of structure, his concept of counterpoint. I mean, that's--that's just where my mind goes with that, you know. I often tell people that of all my conducting teachers, Bach was the best one, you know. But, but, but all composers--I mean, there's--all of it has its challenges. I mean, obviously music of, of later composers, which is very, very intricate and very involved may have a different kind of challenge. I mean, I've conducted some very new pieces, which took an awful lot of work to delve into them because you're, you're not only learning the new piece, but you're learning a new style. You're learning a new language of a--of a new composer, you know. A piece I did--we, we did the American premier last year as my swan song at Northwestern [University, Evanston, Illinois] of a British composer's piece called 'Not In Our Time' by Richard Blackford which was a piece that basically commemorated 9/11 [September 11th, 2001] even though it wasn't specific, but it did. And I had to learn--I went over and studied the piece with the composer in order to get--to delve into it. And I was in England when, when it--when it was given its premier performance, and I went to all those performances and rehearsals, trying to see how this piece is working. I had done my homework, but then to, to get a more insight, I spent time in England studying it before doing it here. And then, of course, he was here for the compose--for the performance, and that was even better.$$Was he satisfied with--$$He was very pleased.$$Okay.
Read more about Robert A. Harris
T.J. Anderson
Composer and music professor Thomas Jefferson Anderson was born on August 17, 1928 in Coatesville, Pennsylvania. Anderson attended West Virginia State College and Pennsylvania State University, where he received his B.A. degree in music and his M.Ed. degree in music education in 1950 and 1951, respectively. Anderson studied composition at the Cincinnati College - Conservatory of Music in 1954, before obtaining his Ph.D. degree in music at the University of Iowa in 1958. Anderson also studied composition at the Aspen School of Music in 1964 with Darius Milhaud
Anderson was hired as a professor of music at Langston University in Langston, Oklahoma, where he became chair of the music department. He then served as a music professor at Tennessee State University before being named composer-in-residence with the Atlanta Symphony Orchestra in 1969. During his three year tenure at the Atlanta Symphony Orchestra, Anderson orchestrated the Scott Joplin opera Treemonisha and in 1972, the first full staging of Joplin's work took place. His first opera, Soldier Boy, based on a libretto by writer Leon Forrest, was commissioned by Indiana University. After a visiting professorship at Morehouse College in Atlanta, Anderson was hired as a professor of music and department chair at Tufts University in Medford, Massachusetts in 1972.
As a lecturer, consultant, and visiting composer, Anderson has taught at institutions in the United States, Brazil, Germany, France and Switzerland. He has been a fellow at the MacDowell Colony, Yaddo, Virginia Center for the Arts, the Djerassi Foundation, the National Humanities Center and a scholar-in-residence at the Rockefeller Center for the Creative Arts in Bellagio, Italy. Anderson has accumulated numerous honors throughout his illustrious career, including an honorary membership in Phi Beta Kappa, a fellowship from the John Simon Guggenheim Foundation and grants from the Rockefeller Foundation. He has received honorary doctorates from the College of Holy Cross, West Virginia State College, Bridgewater State College, St. Augustine's College, Northwestern University, Bates College and Tufts University. In March, 1997, he was honored as a founder and first president of the National Black Music Caucus, now NASPAAM with a concert of his music. In 2005, Anderson was elected to the American Academy of Arts and Letters. Anderson and his wife, Lois, have three adult children, a son, Thomas J. Anderson and two daughters, Janet Anderson and Anita Anderson Downing.
T.J. Anderson was interviewed by The HistoryMakers on February 19, 2012.
Black Music Center, Indiana University
Massachusetts Council for the Arts and Humanities
Harvard Musical Association
College Music Society
American Music Center
Black Music Caucus
West Virginia State University
Monroe School
Harriet Beecher Stowe Junior High School
S. Horace Scott Senior High School
AND11
Bread (Rolls)
Music composer T.J. Anderson (1928 - ) was a leading composers of the twentieth century. He composed over eighty works, including operas, symphonies, choral pieces, chamber music and band music, and was the recipient of numerous honors, including seven honorary doctorates.
West Virginia State College (Institute, W. Va.)
High Point Public Schools
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Tape: 1 Story: 1 - Slating of T.J. Anderson's interview
Tape: 1 Story: 2 - T.J. Anderson lists his favorites
Tape: 1 Story: 3 - T.J. Anderson describes his mother's family background
Tape: 1 Story: 4 - T.J. Anderson talks about his maternal grandfather's career as a minister
Tape: 1 Story: 5 - T.J. Anderson remembers his early interest in jazz music
Tape: 1 Story: 6 - T.J. Anderson describes his mother's upbringing
Tape: 1 Story: 7 - T.J. Anderson describes his father's family background
Tape: 1 Story: 8 - T.J. Anderson describes his father's education
Tape: 1 Story: 9 - T.J. Anderson describes his parents' personalities and who he takes after
Tape: 1 Story: 10 - T.J. Anderson lists his siblings
Tape: 1 Story: 11 - T.J. Anderson describes sights, sounds and smells of his childhood
Tape: 1 Story: 12 - T.J. Anderson remembers his early exposure to classical music
Tape: 2 Story: 1 - T.J. Anderson describes his first experiences with classical music and jazz
Tape: 2 Story: 2 - T.J. Anderson remembers S. Horace Scott Senior High School in Coatesville, Pennsylvania
Tape: 2 Story: 3 - T.J. Anderson recalls his extracurricular activities at S. Horace Scott Senior High School
Tape: 2 Story: 4 - T.J. Anderson remembers his influential high school teachers
Tape: 2 Story: 5 - T.J. Anderson recalls his decision to attend West Virginia State College in Institute, West Virginia
Tape: 2 Story: 6 - T.J. Anderson remembers his influences at West Virginia State College
Tape: 2 Story: 7 - T.J. Anderson describes his involvement in the Alpha Phi Alpha Fraternity
Tape: 2 Story: 8 - T.J. Anderson remembers his father's friendship with Paul Robeson
Tape: 2 Story: 9 - T.J. Anderson remembers his family's political activities
Tape: 2 Story: 10 - T.J. Anderson remembers Roland Hayes and Marian Anderson
Tape: 3 Story: 1 - T.J. Anderson reflects upon the relationship between language, rhythm and culture
Tape: 3 Story: 2 - T.J. Anderson describes his experiences of Eurocentrism in academic music curricula
Tape: 3 Story: 3 - T.J. Anderson describes the start of his Ph.D. degree program
Tape: 3 Story: 4 - T.J. Anderson remembers completing his Ph.D. at the University of Iowa
Tape: 3 Story: 5 - T.J. Anderson talks about his creative process
Tape: 3 Story: 6 - T.J. Anderson describes his family's reaction to his Ph.D. degree
Tape: 3 Story: 7 - T.J. Anderson remembers meeting his wife
Tape: 3 Story: 8 - T.J. Anderson recalls meeting Melvin B. Tolson at Langston University
Tape: 3 Story: 9 - T.J. Anderson describes Melvin B. Tolson's poetry
Tape: 3 Story: 10 - T.J. Anderson remembers teaching at Langston University in Langston, Oklahoma
Tape: 4 Story: 1 - T.J. Anderson remembers his mentor, Edward C. Lewis
Tape: 4 Story: 2 - T.J. Anderson recalls his introduction to 'Treemonisha'
Tape: 4 Story: 3 - T.J. Anderson describes the history of the opera 'Treemonisha'
Tape: 4 Story: 4 - T.J. Anderson compares the works of Scott Joplin and George Gershwin
Tape: 4 Story: 5 - T.J. Anderson remembers the process of reconstructing 'Treemonisha'
Tape: 4 Story: 6 - T.J. Anderson talks about the music of 'Treemonisha'
Tape: 4 Story: 7 - T.J. Anderson remembers the first staging of 'Treemonisha'
Tape: 4 Story: 8 - T.J. Anderson talks about the role of performers as interpreters
Tape: 4 Story: 9 - T.J. Anderson talks about his academic career
Tape: 4 Story: 10 - T.J. Anderson describes his accomplishments at Tufts University in Medford, Massachusetts, pt. 1
Tape: 5 Story: 1 - T.J. Anderson describes his accomplishments at Tufts University in Medford, Massachusetts, pt. 2
Tape: 5 Story: 2 - T.J. Anderson remembers receiving his first honorary degree
Tape: 5 Story: 3 - T.J. Anderson talks about his awards and honors, pt. 1
Tape: 5 Story: 4 - T.J. Anderson describes his musical compositions
Tape: 5 Story: 6 - T.J. Anderson remembers meeting William Grant Still
Tape: 5 Story: 7 - T.J. Anderson remembers William Levi Dawson
Tape: 5 Story: 8 - T.J. Anderson remembers meeting Eubie Blake and Florence Price
Tape: 5 Story: 9 - T.J. Anderson describes the importance of black representation in majority universities
Tape: 5 Story: 10 - T.J. Anderson talks about racial discrimination in the classical music community
Tape: 6 Story: 1 - T.J. Anderson describes his hopes and concerns for the African American community
Tape: 6 Story: 2 - T.J. Anderson reflects upon his life
Tape: 6 Story: 3 - T.J. Anderson reflects upon his legacy
Tape: 6 Story: 4 - T.J. Anderson reflects upon his relationship with his wife
Tape: 6 Story: 5 - T.J. Anderson describes how he would like to be remembered
Tape: 6 Story: 6 - T.J. Anderson narrates his photographs
T.J. Anderson describes his first experiences with classical music and jazz
T.J. Anderson talks about the music of 'Treemonisha'
As a little kid you listened to classical music and you (unclear) (simultaneous)?$$(Simultaneous) Oh yes, very much so. I listened to--in fact that's about all we had in our home, classical music. I mean I, I--and when I say classical music I'm talking about the classical music of Paul Robeson, I'm talking about the classical music of Philippa Schuyler, I'm talking about the classical music of people like James Weldon Johnson, Samuel Coleridge-Taylor, I'm talking about the classical music of William Grant Still, William Dawson [William Levi Dawson]. I, I mean there's a whole litany of people that--that were represented in my--who I consider myself a descendant of. In other words, I'm a descendant of this tradition. So, that's the way I fit in.$$And was the violin your first instrument in terms of?$$The violin and then the piano, and then trumpet, then saxophone, then bassoon, I mean that's the order that they, they came.$$So when did you say you started playing the violin?$$About six years old, six or seven, yeah seven.$$You're about six--seven, okay. Now, this is both--you were living both in the Coatesville [Pennsylvania] area, right?$$No, this is Washington, D.C.$$D.C., okay. Then you moved to Coatesville?$$I moved to Coatesville when I failed seventh grade (unclear).$$Right, you--okay. Well what happened during that seventh grade period?$$I discovered jazz (laughter).$$That's basically it?$$Yeah, that's basically it. And, and of course that's where my mother [Anita Turpeau Anderson] and I parted, you know. And I can understand what she wanted, but what she wanted wasn't what I wanted inf- and as it turned out it ben- it saved my life, really. I mean in other words, I'd have been just another classical composer, I mean and that's not what I lucked up on. I lucked up on finding the Howard Theatre [Washington, D.C.]. I lucked up on hearing Jimmie Lunceford, Duke Ellington, Earl Hines [Earl "Fatha" Hines]. I mean just all the big bands that came through there with package shows, I heard. And so when I went to Cincinnati [Ohio] and went to the Cotton Club I, I was prepared for, for, for the bands that I would hear there, and they were traveling bands and, and that was a great movement. In fact, I--I've written a piece called 'What Ever Happened to the Big Bands?' [T.J. Anderson]. It's for trumpet, saxophone and trombone, and it's a tribute too. It's published in Berlin [Germany], but it's a tribute to that music, I mean.$$Did you have a favorite band?$$No, they were all different. Lunceford's band was a show band and Lunceford's band had great arrangements. Sy Oliver was the arranger of that band. And they could swing just about any piece, classical pieces, spirituals and everything. And it was a very interesting band. But the band for soloists was Duke Ellington, because he had Cootie Williams and the trombone player Brown, Lawrence Brown. Just, just a lot of outstanding, you know, players in--in his band. The alto saxophone player, Johnny Hodges was with him. And so that when I--when I thought, thought about soloists, although they were playing Duke Ellington tunes, the soloist really was the things I was fascinated by. In other words, that's improvisation. I just became in love with improvisation, and to this day I'm fascinated by improvisation.$$Okay. So your favorite--was Johnny Hodges one of your favorite?$$Oh Hodges, Ben Webster was in the band. So I mean there're a lot of people, there wasn't any one favorite. It was--I think that's, that's one of the things I try to avoid is having one favorite of anything. I think there's too much richness out there to settle in on one. And I think you can like two or three people for different reasons and all of them can be good. So I've learned, I learned at an early age not to settle in on one thing, you know, so.$Can you hum a little bit of it for us, I mean of a good part (laughter)?$$A good part?$$Just because this is audio, it's about music.$$(Sings musical notes) This is the overture, (sings musical notes). I mean it goes on like that yeah, I mean that's the overture. And then there's some marvelous arias, (singing), "Marching onward, marching onward, listening to that happy tune--." That's the--that's the last over--that's the last song. And, and the interesting thing about that is that Joplin [Scott Joplin] wrote dance steps in the score [of 'Treemonisha']. There're a lot of things Joplin did that nobody did. I mean people had done that before in French--in French opera they, they write dance steps in the score. That had been done before, but Joplin wrote drag--real slow drag, he wrote the dance steps, light right foot slides, left foot glides, and all of this, that's written in the score. Another thing that Joplin did, Joplin tried to capture the singing he heard in black churches and that was when he wrote--he wrote notes with stems, just stems only and no note--no note heads, in other words jus- just the stems of the notes and no note heads. And there are sections where they go, "Oh," you know, that type of singing. The cross between singing and speaking, and of course Schoenberg [Arnold Schoenberg] developed about the same time Sprechstimme, a cross between singing and speaking. So both of these men were thinking about the same kinds of problems to be solved in composition. I mean he was a genius, Joplin was a genius, no question about it. And the father of American opera (laughter), I'm back to that again. And I can say that wi- with, with confidence because I've talked it over with Edith Borroff who wrote the book 'The History of American Music--,' 'Music in America and Music in Europe' [sic. 'Music in Europe and the United States: A History']. It's a very famous history book on, on American music, mainly because most mus- music books up until that time don't have one line about Indian [Native American] music. I mean Americans, we, we dis- we discovered Indians when we got here. They taught us how to survive, yet we don't wanna acknowledge their music, the fact that they taught us how to live, they taught us how to plant corn, they taught us everything and we don't--we don't wanna acknowledge their existence. But she acknowledges that and she also acknowledges the black contribution to music too, which you don't see in most books.
Read more about T.J. Anderson
Vance Vaucresson
Entrepreneur Vance Vaucresson was born on December 3, 1968, in New Orleans, Louisiana, to a long family history of butchers. His great-grandfather, Levinsky Vaucresson, and great-grandmother, Odile Gaillard, originated from the Alsace region of France, but they migrated to New Orleans, where Levinsky worked as a butcher around the turn of the century. Their son, Robert Levinsky Vaucresson, continued in the same line, and Vaucresson's father, Robert "Sonny" Vaucresson, transformed the family meat market into the Vaucresson Sausage Company. In 1969, the Vaucresson family started selling their sausages at the New Orleans Jazz & Heritage Festival. At the 1976 Festival, New York Times Food Critic Mimi Sheraton named Sonny's hot sausage po'boy the "Best Food at the Fest."
When he was eight years old, Vaucresson's father, Sonny, began to teach him about the family business; Vaucresson learned sausage-making techniques, along with the traditions of New Orleans Creole culture. In 1983, the Vaucresson Sausage Company was officially established. They opened their factory in October on the corner of St. Bernard and North Roman, in the 7th Ward, where they made sausages and gumbo. That same year, The Vaucresson family sold sausage po'boys at the first French Quarter Festival. In 1992, Vaucresson graduated from Morehouse College in Atlanta, Georgia, and returned to New Orleans to work at the family business. For six years he worked alongside his father, but on November 1, 1998, Sonny passed away from a massive heart attack. Vaucresson took over the family business.
In 2005, Hurricane Katrina hit New Orleans. After the disaster, Vaucresson's sausage plant laid under six feet of water; his equipment was ruined, his supply of meat spoiled, and his insurance didn't cover flood damage. Vaucresson, his pregnant wife, and his young son traveled to New Iberia, Louisiana, where they shared a three bedroom house with fifteen people while waiting for better housing. Eventually, they moved into a mobile home. Vaucresson's plant was unworkable, so he asked a man with a functioning plant in Metairie, Louisiana, for help. The man, once his main competitor, agreed, and Vaucresson was able to make his sausage po' boys for that spring's Jazz Fest. Vaucresson continues to run the Vaucresson Sausage Company, serving his signature po'boy at both the New Orleans Jazz & Heritage Festival and the French Quarter Festival.
Vance Vaucresson was interviewed by The HistoryMakers on June 10, 2010.
St. Frances Cabrini Xavier School
Brother Martin High School
VAU01
April, May
It Will Make Your Mouth Feel Happy And Your Tummy Say Yummy.
Entrepreneur Vance Vaucresson (1968 - ) served as president of the New Orleans-based Vaucresson Sausage Company, the longest standing vendor at the New Orleans Jazz and Heritage Festival in New Orleans, Louisiana.
Vaucresson Sausage Company
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Tape: 1 Story: 1 - Slating of Vance Vaucresson's interview
Tape: 1 Story: 2 - Vance Vaucresson lists his favorites
Tape: 1 Story: 3 - Vance Vaucresson describes his mother's upbringing
Tape: 1 Story: 4 - Vance Vaucresson describes his mother's experiences at Spelman College in Atlanta, Georgia
Tape: 1 Story: 5 - Vance Vaucresson talks about his mother's integration of New Orleans Public Library
Tape: 1 Story: 6 - Vance Vaucresson describes his maternal aunt and grandfather
Tape: 1 Story: 7 - Vance Vaucresson talks about his paternal grandfather
Tape: 1 Story: 8 - Vance Vaucresson describes his father's personality
Tape: 1 Story: 9 - Vance Vaucresson talks about Vaucresson's Cafe Creole in New Orleans, Louisiana
Tape: 1 Story: 10 - Vance Vaucresson describes his father's influence on Bourbon Street in New Orleans, Louisiana
Tape: 2 Story: 1 - Vance Vaucresson describes his paternal grandfather's start in the sausage business
Tape: 2 Story: 2 - Vance Vaucresson describes the Creole community in New Orleans, Louisiana, pt. 1
Tape: 2 Story: 3 - Vance Vaucrresson talks about the Creole identity
Tape: 2 Story: 4 - Vance Vaucresson describes the early years of Vaucresson's Cafe Creole in New Orleans, Lousiana
Tape: 2 Story: 5 - Vance Vaucresson remembers the patrons of Vaucresson's Cafe Creole in New Orleans, Louisiana
Tape: 2 Story: 6 - Vance Vaucresson describes the menu at Vaucresson's Cafe Creole in New Orleans, Louisiana
Tape: 2 Story: 7 - Vance Vaucresson describes the Creole cuisine
Tape: 2 Story: 8 - Vance Vaucresson describes his family's charcuterie products
Tape: 3 Story: 1 - Vance Vaucresson talks about the Creole Fiesta Association
Tape: 3 Story: 2 - Vance Vaucresson describes his father's entrepreneurialism
Tape: 3 Story: 3 - Vance Vaucresson recalls the inaugural New Orleans Jazz and Heritage Festival
Tape: 3 Story: 4 - Vance Vaucresson talks about the clannishness of the Creole community
Tape: 3 Story: 5 - Vance Vaucresson talks about the diversity in the Creole community
Tape: 3 Story: 6 - Vance Vaucresson talks about the diversity in the Creole community, pt. 2
Tape: 3 Story: 7 - Vance Vaucresson talks about his mother's cancer diagnoses
Tape: 3 Story: 8 - Vance Vaucresson reflects upon his father's legacy
Tape: 4 Story: 1 - Vance Vaucresson describes his earliest childhood memory
Tape: 4 Story: 2 - Vance Vaucresson remembers his neighborhood in New Orleans, Louisiana
Tape: 4 Story: 3 - Vance Vaucresson remembers the St. Frances Xavier Cabrini School in New Orleans, Louisiana
Tape: 4 Story: 4 - Vance Vaucresson remembers his reading tutor
Tape: 4 Story: 5 - Vance Vaucresson recalls the discipline at the St. Frances Xavier Cabrini School in New Orleans, Louisiana
Tape: 4 Story: 6 - Vance Vaucresson describes his early interests and activities
Tape: 4 Story: 7 - Vance Vaucresson describes his early experiences of religion
Tape: 4 Story: 8 - Vance Vaucresson describes the influence of his older brothers
Tape: 4 Story: 9 - Vance Vaucresson reflects upon his high school experiences
Tape: 4 Story: 10 - Vance Vaucresson recalls his decision to attend Morehouse College in Atlanta, Georgia
Tape: 5 Story: 1 - Vance Vaucresson remembers his arrival at Morehouse College in Atlanta, Georgia
Tape: 5 Story: 2 - Vance Vaucresson recalls his involvement in the music department at Morehouse College
Tape: 5 Story: 3 - Vance Vaucresson remembers his professors at Morehouse College
Tape: 5 Story: 4 - Vance Vaucresson recalls protesting against a Ku Klux Klan rally in Atlanta, Georgia
Tape: 5 Story: 5 - Vance Vaucresson talks about the Morehouse College Glee Club
Tape: 5 Story: 6 - Vance Vaucresson remembers joining the Vaucresson Sausage Company
Tape: 5 Story: 7 - Vance Vaucresson recalls the creation of the Vaucresson Sausage Company's processing plant
Tape: 5 Story: 8 - Vance Vaucresson recalls his conflicts with his father at the Vaucresson Sausage Company
Tape: 5 Story: 9 - Vance Vaucresson talks about the impact of Hurricane Katrina on the Vaucresson Sausage Company, pt. 1
Tape: 5 Story: 10 - Vance Vaucresson talks about his wife and children
Tape: 5 Story: 11 - Vance Vaucresson talks about the impact of Hurricane Katrina on the Vaucresson Sausage Company, pt. 2
Tape: 5 Story: 12 - Vance Vaucresson remembers his cousin's suicide
Tape: 6 Story: 1 - Vance Vaucresson talks about the support of his competitor, Jerry Hanford
Tape: 6 Story: 2 - Vance Vaucresson describes his organizational activities
Tape: 6 Story: 3 - Vance Vaucresson talks about his plans for the future
Tape: 6 Story: 4 - Vance Vaucresson reflects upon his legacy
Tape: 6 Story: 5 - Vance Vaucresson talks about the importance of The HistoryMakers project
Tape: 7 Story: 1 - Vance Vaucresson narrates his photographs
Vance Vaucresson describes his father's influence on Bourbon Street in New Orleans, Louisiana
Vance Vaucresson remembers joining the Vaucresson Sausage Company
I'll never forget he told me a long time ago when they was, when he--they were about to open the restaurant they had a group of--called the Bour- Bourbon Street Merchants Association [New Orleans, Louisiana]. It's a group of business owners on Bourbon Street who met and talked about the different topics and needs of the Quarter [French Quarter, New Orleans, Louisiana] at the time. And, they had a meeting and at that particular meeting there was a big buzz about the fact that, how in the world did they let a nigger get on Bourbon Street? And, so, everybody was walking around--that was the hush of the meeting. So, they had a white gentleman that came and sat down with Larry Borenstein and my dad at his table. Now, my dad knew this gentlemen from dealing with him in the Quarter for some time. And, he had gotten to know my dad and liked my dad. And, he came over and greeted my father and Larry and they were sitting down talking. And, all of a sudden he leaned in real quietly and got real hushed in his tone and he said, "Did y'all hear?" And, they said, "What?" He said, "They done let a nigger get on Bourbon Street." He said, "Lord, our property values are gonna go down. All them people gonna start coming in our businesses, it's gonna, I mean, it's gonna mess everything up." He was very, very upset. So, Larry said, "Well, you know what, I know him, I'm a introduce you to him." So, the man's looking around the restaurant and said, "Please do. I wanna know him so I can watch him." So, the man says, Larry said, "Well, you know Sonny Vaucresson [Robert "Sonny" Vaucresson], right?" He said, "Oh, yeah. I've been knowing Sonny for a long time." He says, "Well, that's the new nigger on Bourbon Street." And, he looked at my dad, and he says, "Sonny," he says, "you black?" He says, "Yeah, I'm black." He says, "Oh, my god." My dad told me the man turned real, real pale and got up and walked away and left the meeting. And, my dad says, he said, he told me, he says, "You know I used to see that man all the time in the Quarter. He'd walk away--he'd make sure to avoid me." He says, "You know, but I--he didn't avoid me because he hated me because I was black. I believe he avoided me because he was too embarrassed." He was too embarrassed. My dad went on and had that restaurant I believe from like mid-'60s [1960s] to about mid-'70s [1970s]. And, it really afforded people of color a place that they could call their own. Because at that time Bourbon Street, you could work on Bourbon Street but you couldn't go and actually have a place to sit in the courtyard and have a function. And, you know, my dad was, he was a hustler, to basically put it plainly. And, he got to know a lot of people from a lot of different backgrounds. And, he had a group called the Creole Fiesta [Creole Fiesta Association], which celebrated the culture of Creole people, and they used to have parades every year. And, one of the things that they definitely could not do is parade in the French Quarter, especially on Bourbon Street. Well, my dad got with Ben Bagert, who was a representative at the time. And, and got with him to get a permit to parade in the Quarter. Now, this was unheard of. So, they went and got some buggies and got their dresses and everything and the Creole Fiesta paraded in the French Quarter, down Bourbon Street, and disbanded at 624 Bourbon Street at the Vaucresson's Cafe Creole [New Orleans, Louisiana] and had their celebration in the courtyard outside in our restaurant. And, at that time, that was a big thing for the community.$$Do you know what year that was?$$I believe they had made my dad king at that time, and Leah Chase's daughter, Leah [Leah Chase Kamata] was the queen. I believe that was 1970. I believe so.$$Okay.$$And, and then, since then that was a--the restaurant became a place where people of color of many different shades would come in and eat, have a place to, to celebrate and have a piece of Bourbon Street that they weren't really allowed to do at that time.$What year did you graduate?$$I finished Morehouse [Morehouse College, Atlanta, Georgia] in '92 [1992].$$So, so, your father didn't bring you home.$$He didn't bring me home (simultaneous).$$(Simultaneous) He decided to let you stay.$$He didn't bring me home. He did come get my car one year. I had a car that he gave me. And the grades didn't come back too right. So, I was walking for the next semester. But that was all right. You know, you need those types of things to humble you. And I brought my grades up and it worked out. I got a car back. But I think for him, he started to see--he started to see me change into a man. And I don't think he was ready for that.$$Okay. So, tell me what happens after graduation.$$After graduation, leading up to graduation my parents [Geraldine Dave Vaucresson and Robert "Sonny" Vaucresson] came up and my dad said, he made plea, he said, "I really need you to come back and help me with this business. I need you to help, come back and take over." At the time, I was kind of of rebelling. I had got a job offer from Kraft General Foods [Kraft Foods Group, Inc.] to start at an entry level of GSO position, great grocery sells type person. So, I thought about it and came back home, work with my dad. And was depressed for like six months after I came back because I felt that my friends and everything--like they was stuck in time. That no one had advanced to the level of understanding and knowledge of which I had--. And all my friends are going to college but, you know, just still, it just seemed like everybody's mentality, everything was stuck in time. So, I worked with my dad in the business for seven years after that. We accomplished a lot of things together. We fought every day. The way we got along was, if we didn't holler, scream, and fight every day, something was wrong. Because that was just how we got along. He had a way of doing things. I'm bringing in new ideas of a way of doing it. And we butted heads constantly. But we, we, we had a lot of battles in business together. We fought against--in the meat business, of being a black company we were already--a true minority, they didn't have that many, that was trying to be a processor. The thing about Vaucresson Sausage [Vaucresson Sausage Company, New Orleans, Louisiana], we were a department of agriculture [Louisiana Department of Agriculture and Forestry] inspected facility that, that sold sausage to grocery stores, institutions, things of that. And that's a larger realm than just a meat market. Now, I'm dealing with a lot of major meat businesses and a lot of 'em did a lot of things to try to knock us out, put us out of business and do things like that. But we just kept fighting. And we kept finding a way to stay alive. And, and, one of the first people that gave us a chance was a guy named John Schwegmann, S-C-H-W-E-G-M-A-N-N [John G. Schwegmann], and he had the largest supermarket chain in the city called Schwegmann supermarkets [Schwegmann Brothers Giant Supermarket]. And he said, "You know what? I'm a give you a shot. I'm a, I'm gonna--you can bring your product in and sell it in the stores." And from there once we starting showing that we could move product, it opened the door for us to go into Winn Dixie [Winn Dixie Stores, Inc.] to go into some other, some other major chains in the city to where at one point, we, we had a large distribution within the grocery stores in the city. And then we went into institutional business. And that was a business that was really much cornered by certain firms. So, we really had to, you know, kind of fight our way in there and to, to try to get our place in there. We did. We wound up doing some institutional work with the Orleans Parish School Board and with the prisons in the area. And it really put us in a place where, from the department of agriculture standpoint as well as the meat community, that we were, we were here to stay. And we were at least a viable company. We were just not a fly by night. Because they had originally said that we weren't gonna last five years.
Read more about Vance Vaucresson
Huel D. Perkins
Retired educator Huel Davis Perkins was born on December 27, 1924 in Baton Rouge, Louisiana. Between 1943 and 1946, Perkins served in the U.S. Navy as a musician first class. He graduated from Southern University with highest honors in 1947.
From 1948 to 1950, Perkins worked as a music instructor at Lincoln University in Jefferson City, Missouri. Perkins then served as an associate professor of music at Southern University from 1951 through 1960. During this time, Perkins also completed his M.A. degree in music from Northwestern University in 1951 and his Ph.D. from Northwestern University in 1958. From 1968 to 1978, Perkins served as the Dean of the College of Arts and Humanities at Southern University. In addition, Perkins was appointed as the deputy director of education programming at the National Endowment for the Humanities in Washington, D.C. in 1978. Perkins then commenced a long tenure at Louisiana State University where he served as Assistant Vice Chancellor for Academic Affairs from 1979 through 1990 and as Executive Assistant to the Chancellor and Special Assistant to the Chancellor from 1990 through 1998. In 1996, President Bill Clinton appointed Perkins to the Board of Advisors of the J.W. Fulbright foreign scholarship program. He served in this capacity until 2002. Perkins then founded Huel D. Perkins & Associates, Inc., a consulting firm and speakers bureau. He serves as its president. Perkins has also served as Chairman on the Education Foundation of Alpha Phi Alpha Fraternity and has served as Grand Sire Archon of Sigma Pi Phi Fraternity. In 2005, Louisiana State University acknowledged Perkins' years of service by awarding him the honorary Doctor of Humane Letters and naming a doctoral fellowship program after him.
Perkins has also been honored by the Louisiana Endowment for the Humanities (Humanist of the Year); the National Conference of Christians and Jews (Brotherhood Award); the LSU Chapter of Phi Delta Kappa (Outstanding educator); the Baton Rouge Human Relations Council (Brotherhood Award); the Istrouma Area Council of Boy Scouts of America (Citizen of the Year); the Louisiana Chapter of NAACP (A. P. Turead Award); the Alpha Phi Alpha Fraternity (Award of Merit) and received the Centennial Award given by Sigma Pi Phi Fraternity. He has served as a member of the President's Board of Advisors on Historically Black Colleges and Universities. Perkins has critiqued and published numerous books and articles on the African American experience in America. He has served on several dozen boards dealing with social and educational issues including the Baton Rouge Symphony, Louisiana Public Broadcasting, Corp., and the New Orleans Museum of Art. Perkins is the recipient of many public service awards for his achievements both in the civic and academic communities.
Perkins is married to Thelma O. Smith. 2008 marks the couple's sixtieth wedding anniversary. They have one child, Huel Alfred Perkins.
Perkins was interviewed by The HistoryMakers on March 26, 2008.
Dr. Huel Perkins passed away on April 15, 2013.
Academic Administrator
Sigma Phi Alpha
Pi Kappa Lambda
United Way of America
Southern University Laboratory School
Southern University and Agricultural and Mechanical College
Boule Foundation
Man Comes To Earth Unarmed Except For His Mind; His Brain Is His Only Weapon.
Spaghetti, Meatballs
Academic administrator and music professor Huel D. Perkins (1924 - 2013 ) was an instructor at Lincoln University and Southern University, where he also served as dean of the College of Arts and Humanities. At Louisiana State University, he served as Assistant Vice Chancellor for Academic Affairs. In 2002, Perkins founded Huel D. Perkins & Associates, Inc.
Southern University and A&M
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Tape: 1 Story: 1 - Slating of Huel D. Perkins' interview
Tape: 1 Story: 2 - Huel D. Perkins lists his favorites
Tape: 1 Story: 3 - Huel D. Perkins describes his mother's family background
Tape: 1 Story: 4 - Huel D. Perkins talks about the significance of his first name
Tape: 1 Story: 5 - Huel D. Perkins describes his mother's upbringing
Tape: 1 Story: 6 - Huel D. Perkins describes his mother
Tape: 1 Story: 7 - Huel D. Perkins describes his father's family background
Tape: 1 Story: 8 - Huel D. Perkins describes his father's law career
Tape: 1 Story: 9 - Huel D. Perkins describes how his parents met
Tape: 1 Story: 10 - Huel D. Perkins describes how he takes after his parents
Tape: 2 Story: 1 - Huel D. Perkins describes his childhood in Baton Rouge, Louisiana, pt. 1
Tape: 2 Story: 3 - Huel D. Perkins recalls Mount Zion First Baptist Church in Baton Rouge, Louisiana
Tape: 2 Story: 4 - Huel D. Perkins talks about Reverend Gardner Taylor
Tape: 2 Story: 5 - Huel D. Perkins recalls his early musicianship
Tape: 2 Story: 6 - Huel D. Perkins recalls the musicians who served at Naval Station Great Lakes
Tape: 2 Story: 7 - Huel D. Perkins recalls his decision to return to Southern University in Baton Rouge, Louisiana
Tape: 3 Story: 1 - Huel D. Perkins remembers his influential teachers
Tape: 3 Story: 2 - Huel D. Perkins recalls meeting his wife
Tape: 3 Story: 3 - Huel D. Perkins remembers his fiftieth wedding anniversary
Tape: 3 Story: 4 - Huel D. Perkins describes his interdisciplinary teaching style
Tape: 3 Story: 5 - Huel D. Perkins remembers his graduate studies in the humanities
Tape: 3 Story: 6 - Huel D. Perkins recalls student demonstrations at Southern University in Baton Rouge, Louisiana
Tape: 3 Story: 7 - Huel D. Perkins reflects upon Felton Grandison Clark's legacy
Tape: 4 Story: 1 - Huel D. Perkins talks about Valerian Smith's family
Tape: 4 Story: 2 - Huel D. Perkins remembers his students at Southern University in Baton Rouge, Louisiana
Tape: 4 Story: 3 - Huel D. Perkins describes his transition to academic administration
Tape: 4 Story: 4 - Huel D. Perkins remembers joining the National Endowment for the Humanities
Tape: 4 Story: 5 - Huel D. Perkins describes his career at Louisiana State University in Baton Rouge
Tape: 4 Story: 6 - Huel D. Perkins talks about the National Endowment for the Humanities
Tape: 4 Story: 7 - Huel D. Perkins describes his research on the Harlem Renaissance
Tape: 4 Story: 8 - Huel D. Perkins talks about his published works
Tape: 4 Story: 9 - Huel D. Perkins reflects upon the importance of the humanities
Tape: 4 Story: 10 - Huel D. Perkins describes his hopes and concerns for the African American community
Tape: 5 Story: 1 - Huel D. Perkins talks about his favorite figures in the humanities
Tape: 5 Story: 2 - Huel D. Perkins remembers influencing his students' interest in opera
Tape: 5 Story: 3 - Huel D. Perkins talks about 'Cyrano de Bergerac' by Edmond Rostand
Tape: 5 Story: 4 - Huel D. Perkins talks about 'The Fountainhead' by Ayn Rand
Tape: 5 Story: 5 - Huel D. Perkins describes his civic activities in Baton Rouge, Louisiana
Tape: 5 Story: 6 - Huel D. Perkins reflects upon his health
Tape: 5 Story: 7 - Huel D. Perkins reflects upon his legacy
Tape: 5 Story: 8 - Huel D. Perkins describes how he would like to be remembered
Tape: 5 Story: 9 - Huel D. Perkins narrates his photographs
Huel D. Perkins remembers joining the National Endowment for the Humanities
Huel D. Perkins describes his career at Louisiana State University in Baton Rouge
I spoke there [Dallas, Texas] on the importance of the humanities. The fellow was there, who was the chairman of the endowment for, for the humanities. And he came to me right after that and said, "Would you like to come to Washington [D.C.], would you like to come to the National Endowment for the Humanities [NEH]?" I said, "No sir, no sir, I would not like to." I said, "Besides, I've only, I've recently signed a contract to go to LSU [Louisiana State University, Baton Rouge, Louisiana]." He said, "Oh, what's his name, I'll talk with your chancellor down there. I, I think I can get you released from them." I said, "Well, I, I'm not certain I want to do that." He twisted my arm and said, "You come up and you look at our operation. I think you will want to be a part of it." I went to Washington on a kind of a look-see. I decided that's what I wanted to do. They offered me a contract to, to join them in September. I'm supposed to report to LSU. What do I do? Now, I have, I've signed a contract. I have that commit- commitment. I go down--I'll never forget this. I go down to the chancellor, Paul Murrill [Paul W. Murrill], the same fellow who had enticed me to come to LSU. I said, "I agree, I will sign, I will sign my contract." I said, "I'm supposed to report September 1st." I said, "But in the meantime, I have gotten an offer to join the National Endowment for the Humanities in Washington." You know what he said? I'll never forget this because he made, he made me feel so relieved about it all. He said, "Take the job in Washington." He said, "It will be both beneficial to you and to LSU. Drop me a note, and request a year's leave of absence, and go to Washington." That's what I did, that's what I did, and I am very happy that I did it, I am very happy that I did it.$Well, I--in Washington [D.C.], I was reading proposals, making speeches, interpreting the endowment [National Endowment for the Humanities] to, to the various publics and whatnot. At the end of that year, I didn't want to come to LSU [Louisiana State University, Baton Rouge, Louisiana] (laughter). They sent a dean up to Washington. He came up for another meeting. When he came by to see me, he said, "I'm told--we hear that you, you might want to stay in Washington a little longer than this year." He said, "I'm up here to tell you that we want you back, that we're expecting you back, and we have increased your salary just to make you, make sure you come back." So, I'm in another quandary--look, look, the qua- the quandary I gave to you earlier was when I wanted to go to--come back to Southern [Southern University; Southern University and Agricultural and Mechanical College, Baton Rouge, Louisiana], and finish my, my senior year, you remember. And I said, my mother [Velma Davis Perkins] and the fraternity [Alpha Phi Alpha Fraternity]--. Here I am, another quandary in my life: do I want to negate the contract down there, and stay on in Washington? 'Cause I was, I was really doing nicely in Washington, I really was--traveling all over the country and making speeches. And they liked me at the endowment, and that sort of thing, so I had to come and make some hard decisions there. My decision then was to come back to LSU. I talked with somebody, and they said, Washington is temporary. It changes administration every four years (laughter). You, you put your, your eggs in that basket, you don't know how long you're going to be there, you know, it could change. Well, I had some good counseling, so I came on back to LSU, came back to LSU, and stayed twenty-three years. I did twenty-seven at Southern, and I came back to LSU and did twenty-three, including two retirements. I retired once--they asked me to come back. I retired again, they asked me to come back. Then, this last time, which was in 2005, I think it was, I said I'm not going back this time. It became a joke: you're back (laughter) you're back down here. Every chancellor would ask me to come, come, come back there, mainly because I, I, I did a lot of letter writing, a lot of speech writing. And they would let me represent the university and I could represent it well, and people would see they have a black now at LSU, I mean, you know, who, who represents the university. Each chancellor would ask me, ask me to come back, and I, I'd stay here two or three months and, oh, come on, I'd go back down there.
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text:
Desmond Tutu: Timeline of a Life Committed to Equality
1931 – Oct. 7 – Desmond Mpilo Tutu is born in Klerksdorp, near Johannesburg.
1947 – Contracts tuberculosis, as he recuperates, he is visited by Trevor Huddleston, a British Anglican pastor working in South Africa.
1955 – Marries Nomalizo Leah Shenxane and begins teaching at a secondary school in Johannesburg.
1961 – Is ordained as a minister in the Anglican church, after quitting teaching in disgust at South Africa's apartheid government's inferior education for Blacks.
1962 – Studies theology at King's College London.
1966 – Returns to South Africa to teach at a seminary in the Eastern Cape.
1975 – Becomes the Anglican Church's first Black dean of Johannesburg.
1976 – Serves as Bishop of Lesotho and voices criticism of apartheid in South Africa.
1978 – Becomes general-secretary of the South African Council of Churches and achieves global prominence as a leading opponent of apartheid, supports economic sanctions to achieve majority rule in South Africa.
1984 – Wins Nobel Peace Prize – "There is no peace in southern Africa. There is no peace because there is no justice. There can be no real peace and security until there be first justice enjoyed by all the inhabitants of that beautiful land," Tutu says in his acceptance speech.
1985 – Becomes the first Black bishop of Johannesburg.
1986 – Is ordained the first Black Anglican Archbishop of Cape Town.
1989 – Leads anti-apartheid march of 30,000 people through Cape Town.
1990 – Hosts Nelson Mandela for his first night of freedom after Mandela is released from prison after being held for 27 years for his opposition to apartheid. Mandela calls Tutu "the people's archbishop."
1994 – Votes in South Africa's first democratic election in which all races can cast ballots.
1995 – President Nelson Mandela appoints Tutu to be chairman of the country's Truth and Reconciliation Commission.
1996 – Tutu retires as prelate, the Anglican Church gives him the title of Archbishop Emeritus of Cape Town.
1997 – Is diagnosed with prostate cancer and announces it to help with public awareness of the disease.
1998 – Truth and Reconciliation Commission publishes its report, putting most of the blame for abuses on the forces of apartheid, but also finds the African National Congress guilty of human rights violations. The ANC sues to block the document's release, earning a rebuke from Tutu.
2009 – Aug. 12 – Receives the Presidential Medal of Freedom from U.S. President Barack Obama.
2010 – July 22 – Retires from public life, tells press: "Don't call me, I'll call you."
2013 – Launches international campaign for LGBTQ rights in Cape Town. "I would not worship a God who is homophobic."
2014 – July 12 – Urges the British parliament to allow assisted dying, saying, "The manner of Nelson Mandela's prolonged death was an affront."
2021 – Oct. 7 – Frail, in a wheelchair, Tutu attends his 90th birthday celebration at St. George's Cathedral in Cape Town.
2021 – Dec. 26 – Tutu dies in Cape Town.
After Suicide Bombing, Congo Officials Fear More Attacks
Michigan Governor Kidnapping Plot Defense Seeks to Dismiss Indictment

redpajama_set_name: RedPajamaCommonCrawl


German discount supermarket chain Lidl is to build its largest UK regional distribution centre in Luton, UK, to service Greater London.
Covering an area of 93,000m2, the warehouse will be more than double the size of any other Lidl UK distribution centre to date.
In conjunction with Lidl's three other Regional Distribution Centres for Greater London, it will manage the supply and distribution of food and non-food products to Lidl stores in and around the M25, while supporting the supermarket's continued growth in Greater London.
The 23ha site on which the warehouse will be built is located at junction 11A of the M1 motorway and was sold by Houghton Regis Management.
It is part of a 255ha plot that is directly accessed by the new junction 11A and will also comprise 5,000 new houses, three primary schools and a further 93,000m2 of commercial and retail space.
The new warehouse forms part of Lidl UK's £1.45bn expansion investment in Great Britain between 2017 and 2018.
It follows the opening of two new regional distribution centres in Exeter and Wednesbury in 2017, and the announcement of a further three new warehouses in Doncaster, Bolton and Peterborough.
Construction has also begun on two new warehouses in Avonmouth and Eurocentral, Scotland, which will replace its existing warehouses in Weston-Super-Mare and Livingston.
Ingo Fischer, Lidl UK board director for expansion and development, said, "As more London households choose to shop at Lidl, we are committed to the continued investment in our operations and infrastructure to support our growth.


text:
Daniel Manzano Salazar (born 4 December 1972), better known by his stage name Dr Kucho!, is a Spanish house DJ/record producer. He is best known for his 2005 single "Can't Stop Playing" with Gregor Salto. The song was re-released in 2014, remixed by Oliver Heldens and vocals from Ane Brun were added. The song then had success in the UK, reaching number 4 in the charts.

Career
Dr. Kucho started in 2004 releasing "New School Tribal", a tune with African roots and catchy chants that reached the number 26 of Beatport's house top downloads in just one week, maintaining this position and closers for weeks. It seems that Dr. Kucho has a special drive to start each new year full of energy, as he demonstrated in January 2009 when he released new remixes of "Patricia never leaves the house", the tune that opened him the doors of UK market in 2001, this re-release with remixes from Dr. Kucho himself, Gregor Salto, Peter Gelderblom and Mike Haddad & Royce Haven was one of the best sellers at Beatport during the beginning of the 2009.

Discography

Singles

References

External links
 Official Site
 Dr. Kucho at Discogs
 Dr. Kucho at MySpace
 Dr. Kucho at Facebook
 Dr. Kucho at Twitter
 Dr. Kucho at Beatwiki
 Dr. Kucho at Beatport
 Dr. Kucho at Traxsource
 Dr. Kucho at SoundCloud
  Interview Dr. Kucho! - Actualites Electroniques
  Interview Dr. Kucho! - Actualites Electroniques

Spanish DJs
Spanish record producers
Living people
1972 births
Musicians from Madrid

redpajama_set_name: RedPajamaWikipedia


It was great, and now it's done. The Publication Boot Camp, that is. I left the building today and felt light light light.
1. Validation. For instance, when your daughter checks in with you about how to roast little red potatoes, and later you find out she roasted some green beans alongside, which happens to be a dish you often have made yourself. Or you see your messy perennial garden in full hullaballoo. Or when your Publication Boot Camp goes, if not smashingly, at least swimmingly. Validation is good.
2. Watching catch-up episodes of your shows. I hear I have a devastating episode of Mad Men to watch, the one from this past Sunday. But before I can watch that episode, I have to watch the prior two that we also missed while we were in Scotland. One of which we did, tonight. Very satisfying. Also, last night I watched the double episode of Glee, the one where they go to Nationals; and this afternoon after the Publication Boot Camp, I came home and watched the final episode of the season (spoiler alert: they graduate!) and cried my DayQuil eyes out.
3. Watching a little Conference Championship basketball. It's not like you have any skin in the game. Might as well enjoy watching several terrific teams, all with terrific players, get into it. I am particularly enjoying the clutchy mc-clutchness of Dwyane Wade at the moment, although I cannot and will not root for the Heat. It's, like, against the laws of nature.
I am a victim of my own plans.
No, let me explain. But first, let me back up.
I have always--and by "always," I mean all the way back to high school, at least--I have always felt that I lack the big picture in terms of my own life. The girls I knew who were picking out baby names and thinking about what kind of house they'd live in, or else who knew what they wanted to major in in college and what careers they wanted--at that point in time, I was thinking, quite seriously, that I was going to be a concert pianist. (Before that, in my childhood aspiration-list, was "stewardess" and "secretary." All equally lofty, I'm sure you'll agree.) When I was the camp director in my Mormon ward (stop laughing. No, seriously. Stop.), I literally took making handmade paper (so that the girls could write notes to each other on it in the camp "post office") as my first priority. This, while more practical people were planning the meals around me. I shudder to remember this. Also, while shuddering, I have shaken loose about a dozen more similar memories of myself acting dreamy while other people did the list-making.
ANYWAY. Obviously, I am capable of planning plenty of things, since I go to work, collect a pay check, write proposals, buy a lot of shoes, etc. But lately, I feel my plans and good ideas just keep sneaking up, tagging me from behind and snickering at me. Here's an example.
We planned our trip to Scotland, which is now over and done with and is a faint whisper in the annals of time. Not really, but we're not there anymore. Sometime about the same time as we were planning that trip, the Publication Center Steering Committee and I came up with the idea of a Publication Boot Camp, to which we would invite all and sundry, and at which we would teach everything we know to all comers, and would also take a stab at a bunch of stuff we only sort of know.
We sorted through possible dates. Right before the beginning of the fall semester? But then people wouldn't use the knowledge in their fall courses--it would be too late. The middle of the summer: right out, since people would either be teaching in the summer, or lost in a lemonade-soaked haze. Ergo, right before the summer semester started seemed like the best timeframe possible.
Well, right before the summer semester starts is right now. Right now, as in the jet-lagged, DayQuil'd present. What was I thinking?
I am uploading Creative Commons licensed photos, videos, and sounds as we speak, so our attendees can practice on them. Wish us all luck and lucidity. Speaking for myself, I know I will need it.
First, you go to the store for cereal and bread and juice, because you have none. You eat, which makes you tired enough to lie down again, because you need to. About halfway through the day, you discover that the slightly crappy way you feel seems to be turning into a little cold. The kind of cold that is made out of lousy airport food, not enough sleep, and a crowded last flight that makes you feel like you might have to crawl right out of your skin.
Nonetheless, you can make it 75% of the way through a midday outing to buy more food--how can you have thought about broccoli and apples when you had no cereal and therefore no breakfast? The remaining 25% of the outing is constructed out of sheer gritty, upright character and also the fact that you have to complete your transactions and drive home--otherwise, you will have to wander the aisles of the grocery store forever.
You get home, throw the fresh food into your newly clean refrigerator (thanks sons and son-in-law and friends of son!) and fall back into bed. You complete a deep perusal of the catalogs that arrived while you were gone. You drift.
If you calculate, you may have spent 50% of your waking hours supine and drowsy. And sniffing.
You pull up 0.5% of the morning glory in the flower bed. You note that the weather in Utah is slightly less warm than the weather you left in Scotland. Weird. You talk to almost all the kids, you eat a boca burger at a lowkey family barbecue, you deliver some of the candy you brought back for grandkids. You take note of how many things are blooming in the yard. Roses upon roses upon roses. And...you're back in bed.
Heathrow, my men and my women.
It's that special form of numb that's the result of being awake forever. Airline/port food. Cramped muscle madness. It is so choice.
But we will sleep in our own bed tonight, and see the Bruise, and tomorrow we can think about everything else.
For now, it's just a few more hours of Houston. That's right: HOUSTON. Over and out.
"It's coming to an end," said Miriam, turning away from the middle of the Eurovision final competition.
"Let's not say that, not yet," said I.
And thus you see, in this single interchange, both the melancholy and the denial. Ta da!
It goes without saying, I suppose, that there are so many more things I could write about here than I have. For instance, the Queen's 60th Jubilee is happening right now, and in all the shops there are special, limited editions of all sorts of products, particularly cakes and fizzy drinks. Today, I had a diamond sparkle berry drink, just such a limited edition. The juice was filled with food grade sparkle, which, I must say, dramatically enhanced my juice-drinking experience.
"You could replicate it at home, if you were able to put your hands on some food-grade glitter," my daughter pointed out.
"See, there you go. I wasn't even aware that there was such a thing," said I. Well, I wasn't. And somehow, I don't think it would have the same effect in America, where we have no queen and no jubilee, among a number of other things and people that America lacks.
But let's not say that, not yet. Instead, I will tell you what we did today.
There was a village church.
When we came home, we had a swell party. This was Miriam's idea from a few nights ago. We barbecued and had candles and flowers and we made special cookies and watched a pile of Eurovision. I combed out the girls' hair after the hair-washing. We had prayers and good night hugs and kisses.
Hugs and kisses, prayers and good night.
This beautiful class II Pictish cross slab, carved in pink granite, is thought to date from the second half of the 9th century AD.
On one side is a very damaged carving consisting of: a circular knot work and spiral pattern at the base; a ringed cross in the centre panel; a man with "sea monsters" to either side of him at the top - possibly Jonah and two whales...a not uncommon theme.
The other side has splendidly carved Pictish symbols: at the bottom is a mirror and comb; above this, a Pictish beast; then a notched rectangle and Z-rod; and at the top is a damaged panel with a centaur and other less clear beasts.
Down either side of the stone are interlace patterns.
The stone stands about ten feet tall, three feet broad, and six inches thick.
Feats of great courage and derring-do.
The other night as we got into bed, I said to the historian, in the dark, "I'm already thinking about leaving. " Meaning, by "thinking," "feeling sad."
"Don't," he said. "There's no point."
"I mean," he continued, "if there were a point to thinking about it, it would be fine. But since there's no point..."
Well, the people, it is not over. But we are drawing nigh to the end of this visit which has been splendid in every, every way.
A visit this long means you can be more than an event, you can be part of the day-to-day. For instance, the village of Inverurie is highly walkable. We've walked the girls to school almost every day, and then we've met them at the end of the school day and walked them home. We went to a park yesterday after school; today, we met them for home lunch, which meant that we brought a picnic and ate it in the park, getting them back before the bell to assemble for afternoon lessons rang. We've eaten breakfast and dinner together. We've done projects. We've read an entire chapter book together before bedtime.
Of course, it's enchanting to fall into daily life with children, to see their beauty, their willfulness, their flights of fancy; to watch them play, to play with them, to see them run and climb and bounce on the trampoline. And this life of theirs will go on when we leave. Once we get home, we too will fall into our own life together, its comforts and joys. But still, it will be hard to leave them.
We have a few more days to celebrate being here. Tonight there were many forward rolls, aka somersaults, performed in the back garden. Homework done. Dinner made. And both yesterday and today, the children showed great bravery in scaling and grappling with the most challinging of the playground equipment, and conquering it at both of the two parks.
I have been thinking about how things last.
Sometimes, things just stick around for a long time. The Romans, for instance, evidently knew how to build, since so many of their inventions and constructions persist through the centuries and millennia.
But I'm interested by the fact that some of the old places we've visited--medieval castles, Roman ruins and remnants--get picked up piece by piece, stones carried off, used for other things.
I remember being struck by this, that artists were recyclers, both metaphorically in terms of aesthetic ideas, and literally, in their materials. I saw a painting by Toulouse-Lautrec, I think, that had a whole other painting underneath it. These pieces by Andy Goldsworthy, installed in the National Museum of Scotland, use scrap wood salvaged from the construction of the museum, and slates rescued from demolished buildings in Edinburgh.


Cons: 10 characters minimum Count: 0 of 1,000 characters 5. Was this review helpful? Todas las especificaciones + Nuevas funciones de la nvidia n11071 driver nviidia Proporciona la experiencia optima del juego para los nuevos titulos y actualizaciones mas ultimos. Summary: optional Count: 0 of 1,500 characters The posting of advertisements, nvidia n11071 driver, or personal attacks is prohibited. Other google hits wanted me to sign-up and pay for a download.
Was this review helpful? They can take a hike! Camdecoy NVIDIA Nvidia n11071 driver Scan requires the latest version of Java Click on the 'Java' icon to install java Unfortunately we were unable to detect your GPU. Reply by cohune on August 25, ethaimusic 1. Cons Would not install.
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text:
Hypocreales is een orde van Sordariomycetes uit de onderklasse Sordariomycetidae.

De perithecia en stromata van schimmels uit deze orde zijn (indien aanwezig) helder gekleurd, zacht, vleesachtig of wasachtig. Er zijn ongeveer 800 soorten.

Soorten in de orde Hypocreales hebben vaak felgekleurde, peritheciale ascomata of sporenproducerende structuren. Ze zijn hebben vaak een gele, oranje of rode kleur.

Tot deze orde behoort onder andere het gewoon meniezwammetje (Nectria cinnabarina), echt moederkoren (Claviceps purpurea) en de endoparasitaire, nematofage schimmel Harposporium anguillulae.

Taxonomie

De taxonomische indeling van de Hypocreales is als volgt:

Orde: Hypocreales
 Familie: Bionectriaceae
 Familie: Calcarisporiaceae
 Familie: Ceratostomataceae
 Familie: Clavicipitaceae
 Familie: Cordycipitaceae
 Familie: Cocoonihabitaceae
 Familie: Cordycipitaceae
 Familie: Cylindriaceae
 Familie: Flammocladiellaceae
 Familie: Hypocreaceae
 Familie: Nectriaceae
 Familie: Niessliaceae
 Familie: Ophiocordycipitaceae
 Familie: Sarocladiaceae
 Familie: Stachybotryaceae
 Familie: Tilachlidiaceae

Schimmelorde


This paper examines the experience of dynamic knowledge transfer in supply chain integration during a project undertaken by the Bejing consulting arm of a multinational computer company. Various challenges during knowledge transfer in the team undertaking the project are described This paper explores those challenges, how the organisation culture influenced knowledge sharing, and the organisational learning that occurred. A Knowledge Creation Life Cycle is presented and discussed. It was found that both single and double loop learning occurred within a unique Knowledge Creation Life Cycle.


Christopher was a joy to work with, and I know that sounds gushy, but we interviewed 4 other agents, all of whom made us feel like they'd be doing us an enormous favor by condescending to sell our place. Christopher came in with a direct no-nonsence attitude, he was personable and professional, nothing was a problem or too much trouble, he was efficient, knew the pocketed intricacy of DC real estate, and sold our condo higher than asking price after four days on the market. In short Christopher made the whole process smooth and seamless for us, we couldn't be happier.
Christopher represented us in sales of multiple properties in the city of DC, a home in the SE neighborhood and a coop in SW. In both transactions he was well versed in the nuances of the neighborhoods, pricing strategies and getting us to closing. Ease of execution is what you want in the sale of a home and this was what Christopher provided. I would highly recommend Christopher to assist you with your real estate needs.
I worked with Christopher last year, and I found him to be very helpful. He provided great feedback and ideas on ways to improve the staging of the apartment. He was patient with me, as I hate paperwork. Overall I found him to be very responsive and easy to work with on both the buying and selling side. He really helped us to more clearly define the kind of apartment we were looking for.
Christopher was a pleasure to work with; he is very professional and friendly. He immediately makes you feel comfortable and instills confidence because he is so knowledgeable. Before I was introduced to Christopher, several agents tried to sell my house and Christopher Bulka was the agent to get the job done. If I ever sell or buy another house Christopher will be my first call.
Christopher is extremely responsive and really knows his stuff. Plus he is fun to work with. Highly recommend him! He helped me sell my home and purchase a new one, and though there were some bumps along the way (not his fault), he guided me through them and I am very happy with the decisions he helped me make.
Christopher was a great real estate agent for my wife and I. We were unable to make it to DC to handle a lot of the issues required to sell a house, but Christopher was willing and able to make everything happen with no hassle at all! I would recommend him to friends in the area and would most definitely use him again if we move back into the area again.
I had a great experience working with Christopher. He sold my H Street condo in 4 days! It was the first time I'd been on the selling side and I was intimidated by how much work it would take, but Christopher met with me and explained the process and helped me stage my condo so it looked its best. He then took AWESOME pictures of it that made me think twice about selling. Because of his extensive networks and marketing, I got over 10 offers and we sat down and went through each one in detail. I got above my asking price and owe it all to Christopher and his hard work, commitment, and dedication.
With deference, I do not believe it would be possible to contract with a realtor better positioned to represent a seller — or buyer — in Washington, D.C, and especially in the Bloomingdale area, than Christopher Bulka. The professionalism, expertise and integrity of Christopher and his team went beyond that which I had reason to anticipate as possible. All of this and the experience was fun, which says a great deal for Christopher's interpersonal skills and ability to read a myriad cross section of the public. Suffice it to say that there was no aspect of my home selling experience which could have gone more positively. Although Christopher and his team were the experts throughout this process, I always found them to be appropriately attuned and responsive to my expectations, preferences and — when appropriate — direction. Christopher had my trust throughout the sale of my home and I would not hesitate to have him represent me prospectively.
Christopher was a fantastic agent. His attention to detail in making suggestions for the listing of our home was invaluable. He knowledge regarding our neighborhood was very impressive, and as our agent, he was responsive, organized, and helpful throughout the process. He marketed our property extremely well, and within three days on the market, we had multiple offers that escalated above list. The sale of our home was an absolute success, and we wouldn't hesitate to work with Christopher again.
John made selling my condo so easy! He gently suggested the necessary improvements and helped facilitate them. He did all the listings and showings as opportunely as possible. When a potential buyer appeared, he conducted the negotiations responsibly and reasonably. All the tedious paper work was accomplished with humor and accuracy. Change is always stressful and John helped me make my move with organization and delight.
Christopher is exceptional. I interviewed 3 other agents in my search for someone to represent me in selling my cooperative unit in Kalorama. Ultimately, I chose Christopher because he was professional, organized, and answered all of my questions (and I had many because I was a first-time seller). My sale was complicated but Christopher managed and overcame every challenge, even those we could not have anticipated, with calm and reason. I had a tight timeline because of a job in a new city. Christopher was very sensitive to this and my many other demands. He communicated with me regularly, gave me feedback from other agents and prospective buyers about the unit, and advised me on ways to make the unit more appealing. His advice worked. Selling cooperatives requires someone skilled in dealing with potential buyers but also skilled in handling the boards that ultimately must approve the sale. Christopher was very knowledgeable about and adept at navigating all of the ins and outs of this process. I would hire Christopher again without hesitation.
I was so lucky to have found Christopher to sell my one bedroom coop in Washington, DC. He was by far the most professional, organized, and experienced agent I had met with during my search for a listing agent. From our first meeting, where he presented an excellent marketing plan and strategy, I knew he would do an incredible job. Because of Christopher's strategy, planning, execution and professionalism, this truly made a difference in the process from start to finish. I can't recommend him enough.
My husband and I can't recommend Christopher highly enough. After interviewing several agents, we initially hired someone else to sell our property in DC because of a lower commission rate. We quickly realized our mistake – the agent we hired was slow to respond, missed deadlines for documents, and had many other issues. We called Christopher because we were impressed with him in the interview, and he took us on. We wanted the house on the market within just a few days, and Christopher organized everything, and marketed the property before it officially went on the market. All of his efforts made a an impact; the property sold in less than 24 hours, before we even had our first open house, and for $10K above asking price. Christopher managed all this while also communicating with us while we were on vacation out of town with limited internet and cell service. He's fantastic at his job, and we'd hire him again in a heartbeat.
We have had experience with the good, bad and ugly when it comes to real estate "professionals". Christopher is on a different level completely. We tend to be analytical in our decision making style – Christopher was able to clearly lay out a strategy supported by sound data. We moved out of the area before listing – Christopher went above and beyond to ensure our place was ready to show. Received multiple offers (thanks to Christopher's guidance) – he proved himself an adept negotiator and ensured we were seeing a complete picture before making a decision. Christopher also showed tremendous perseverance while dealing with a difficult buyer (and admittedly, difficult sellers). Throughout our entire experience we were constantly updated. The level of communication was outstanding – always responsive no matter call, text or email. Christopher is a true professional. If we ever find ourselves moving back to DC he will be our first phone call.
John is a fabulous agent, and I highly recommend him. The selling process was easy and dare I say, fun, with John Peters. Plus, I was doing the entire thing from abroad! Usually, home buying/selling is incredibly stressful and difficult and add the layer of doing it from a distance and it can be a nightmare. Not so with John. He is responsive, knowledgable, flexible, and patient. I felt confident that everything was in hands and I never worried about a thing. He was incredibly responsive to my emails/phone calls/etc, and he worked hard to make sure that the entire process was clear and transparent. I know that if you are looking to buy or sell a home in the Washington, DC area you are in excellent hands with John Peters.
Christopher is an amazingly talented agent and I highly recommend him to anyone looking to navigate the competitive real estate market in DC. I've had the privilege of using Christopher as both a buyer's and seller's agent. In both cases, he was incredibly knowledgeable about the market, gave sage advice, and kept the process moving to ensure an on-time closing. In my most recent seller's transaction, Christopher effortlessly navigated a tricky provision of DC real estate law and miraculously found a way to secure required closing documents from my former tenants who were vacationing in Europe. He's what every agent should be: patient, unflappable, and a relentless advocate for your interests.
John helped me sell my home in Woodbridge and buy a home in Annandale. He was outstanding in his creative solutions to issues that arose with the buyers during the loan approval process and inspection process. He priced the Woodbridge property so well, we had a contact in just a few days. I couldn't be happier with my new home and the process of buying it. He made it easy and so much less stressful than my 1st home purchase! I've referred many friends to him. If you're looking for a place in the DC/MD/NoVA area, give John a call.
I decided to work with Christopher because I thought that he had the experience, intelligence, and skill necessary to give me the best possible representation when selling my house. Christopher works very hard for his clients and is extremely knowledgeable about the real estate market in this area. He is well prepared for any situation that may arise during a real estate transaction and provides thoughtful advice to prospective buyers and sellers. He is also just a good person and I felt comfortable working with him.
Christopher impressed me with his knowledge of the market and his wide range of resources for marketing my home. He was very easy to talk to and responsive to all of my questions. He had some good advice about how to present my home to make it attractive to buyers. Due to personal circumstances, I had a period of nearly 6 months between signing a contract with Christopher and when I was ready to put my home on the market. He was very patient with me during that time, even though the delay was putting us in the slower market time of year. When I was ready, he found me a buyer who offered full asking price before the home was even listed. I would work with him again and recommend him to anyone.
Christopher was very helpful to me long before I was ready to list. I was in the midst of a tenant nightmare and Christopher took the time to give me advice and the benefit of his experience. Later, when I decided to sell my condo in DC, I went back and listed with Christopher. I am no longer a DC resident, and I needed local help managing the repairs, staging, negotiating, inspection, and settlement issues. Christopher was terrific!!! Truly a trusted advisor to me and the end result exceeded my expectations pretty dramatically. I really can't imagine the whole process being any easier. He is a consummate professional and I would recommend him wholeheartedly.