Rock Voices: The Oral History Project of Slippery Rock University
David Skeele Interview
April 4, 2023
Interviewed by Megan John
Transcribed by Lydia Snyder
Proofread and edited by Sara Dickensheets and Judy Silva
Reviewed and approved by David Skeele
MJ: OK, it is 10:59 a.m. on April 4th, 2023. I am interviewing Dr. David Skeele for Rock Voices
[Oral History Project]. Hello.
DS: Hi.
MJ: So, first of all, can I get some biographical information?
DS: Sure.
MJ: Full name, where you're from, your education, and things like that.
DS: Yeah. My full name is David Bradley Skeele. And I'm from--I grew up in Vermont. Lived a
few places as a kid, but Vermont I sort of consider my childhood home. Lived here, though, in
western Pennsylvania since 1988. So, I've lived--I've been a western Pennsylvania resident
longer than I've lived anyplace else.
In terms of my education, yeah, I got my Bachelor of Arts at Marlboro College in Vermont, a
small college that doesn't even exist anymore. And then from there, I went and got a master's, an
MA at Smith College. And you may be saying, “Isn't that a woman’s college?” And it is, but
they had a few graduate level co-ed programs; Theater was one of them. So, I got a master’s
there, I got my Master’s of Fine Arts in Directing at University of New Orleans. And, oh, by the
way, my BA at Marlboro was in Theater with a specialization, mostly in Acting. My MA was
kind of a general Theater MA, and then I got my MFA in Directing. And then I went to
University of Pittsburgh and got a PhD in Theater, History and Performance Studies. So that was
the education.
MJ: All right. And what is your affiliation with Slippery Rock [University], in terms of
employment or if you went here?
DS: Yeah, I never went here. I have been a--I am a full professor now and on the cusp of
retirement, as you know. I've been here for thirty years as a professor and worked my way-started as an assistant professor and an associate and then full and, you know, worked my way up
through the ranks over the years. But, yeah, this is my thirtieth year here.
MJ: Didn't you start in the English or Education Department?
DS: No, no, I started in the Theater [Department]. There was a time Theater originally was part
of--it was like Theater, Speech and Communication. It was part of the Communication
Department. But I came after they'd already split. I came about ten years after they'd already
split.
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 2

MJ: I look through old Rockets sometimes and it had you down as like Education or English or
something.
DS: Oh really? [Laughs].
MJ: It was only once, though. Now, you came here in 1988, so that was . . . .
DS: I moved—well, we moved to the area in ‘88. I've been here--that's when I got my doctorate
at Pitt [University of Pittsburgh]. But I started teaching here in ‘93. Fall of ‘93 would have been
my first semester.
MJ: All right. So that was after it [Slippery Rock University] transitioned to [a] university. So
was all of that change before your time?
DS: Yes, the change to university was all before my time.
MJ: All right. Now, what other positions have you held besides being a professor, like on
committees and things like that?
DS: Oh, well, I've gone through a lot of different APSCUF [Association of Pennsylvania State
College and University Faculties] committees. I was pretty enthusiastic about that when I was
younger and had more energy. And I've been on the . . . let's see, the Tenure and Sabbatical
Committee, and served a lot of times on curriculum committees and . . . oh God, I can't even
remember. I've done a bunch of them. Committee work to me tends to be the most forgettable
part of the thirty years [laughs]. So, Liberal Studies Committee for a while. I think the Faculty
Professional Development Committee and so, various things, various committees for helping to
create material for the--something we used to have that was a Victorian Christmas dinner, was a
fundraiser we used to do, and I've helped create a couple of conferences and things like that. I've
been on those committees, so I've done a lot of that sort of stuff. But as I said, it kind of fades
away.
MJ: Okay.
DS: It's the teaching and directing that I remember the most.
MJ: In the past thirty years has the department sort of changed around you, and if so, how?
DS: Oh, my God, it’s changed so much. When I first got here, I mean, it was a very interesting
program when I first got here. There were a lot of--the professors who were here had been here
for a long time. And it was pretty much a department of people who were all getting ready to
retire. So things changed over really quickly. It was a very small major at the time for whatever
reason, just sort of cultural trends, at the time. It was only twelve majors, I think, when I started
here. And it was of course a Bachelor of Arts degree, which it was through most of the time that
I've spent here.
But it [pause] started to change a little bit when I got here. And then we had a new scene and
lighting person who came in, Paul Jennings, and Rebecca Morrice, who's now our chair. She
came in as the costume designer and we started to get a bunch of younger faculty. And that just-that kind of changed everything. The department started to grow; grow at least modestly, you
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 3

know. We started to get into the area of twenty or thirty majors and then we added Gordon
Phetteplace, who replaced Paul Jennings. He came in and brought his own kind of strength to the
department. We continued to grow. We held steady at somewhere around forty majors for a long
time.
And then in recent years, it's changed just exponentially. It's just unbelievable how much it's
changed now, because [pause]we started a BFA program, with a lot of our work in the BFA, not
all of it, but a lot of the emphasis being on musical theater. And so suddenly it's become a
completely different program. Suddenly we've added voice teachers to our faculty. We have all
these courses in musical theater and dance for musical theater.
We're doing two musicals a year, where we were doing something like maybe one musical every
other year when it was a BA. And changing from a BA to a BFA, it's just so completely
different. I mean, we were really a program where you were doing it as a liberal arts degree. And
even though a lot of our majors went on to grad school or went on to pursue professional careers
in theater, a lot of them didn't, and they were fine with that. They didn't necessarily think that's
what they were going to do. They just wanted a BA, and this seemed like a cool way to get it.
And even though, as I said, I don't think there are many people who regretted getting it--they had
a great time with our BA--I think that it was very different. Now it's a pre-professional degree.
Now it's assumed that at the end of this you're going to go out and find work as a professional
performer. That's just assumed that's what you're going to do. Again, not everybody will do that
in the BFA. Some people will decide on a different career path. But it's assumed for most people
that's what you're going to do and that . . . it's really just different.
[It] used to be we got our majors, they would come in as--they didn't even know about our
Theater Department. They would come in as Communications majors or as Undecided majors,
you know, Exploratory, we call them now. And they would take an acting class and say, “Hey,
this is cool,” or they'd audition for a show and get in and say, “Oh, this is great.” And that's how
we got our majors. We mostly recruited from campus. And once we started this BFA, now it's
everybody's fighting to get in here. It's like we get most of our majors from out of state. We have
all these people from Texas and Florida and California that go here that come specifically to get
the training that's here. And so it's really different.
I mean, I always love the quality of students here. I always thought that throughout the years,
I've always found Slippery Rock students to be just kind of humble and intellectually curious and
just really good people. And interestingly, that hasn't changed at all with the BFA. The people
coming from everywhere now, they're the same humble, curious . . . fun, good people that they
always were. So that's . . . but the program has changed radically.
MJ: How many Theater majors do you think you have now?
DS: Oh boy, I should know the answer to this right off the top of my head. But I think, we’re
like, total--so all the BFAs plus, we still have a BA in Acting and Theater Design and Design and
Theater Technology, rather, and Theater Arts Management. And something called just Theater
Studies, which is a more general degree meant to go with another major. So, counting all those
people together, I guess we're probably like--we're probably around eighty majors now, and I
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 4

think we'll be more than that next year. We'll have a big BFA class coming in. You know, we
started a little small with our BFA classes because, again, nobody knew about us. Now we're
getting as many people auditioning for us as audition for Penn State, you know, and big, big
established programs.
MJ: All right. And in your time here, what buildings have you worked in?
DS: [Laughs] So, started with Miller Auditorium, and it was, you know, just in the original
incarnation of Miller Auditorium, which was much smaller than it is now. And that was actually
for most of the time I've been here, we were in Miller Auditorium. And then we got moved out
of Miller Auditorium, supposedly for two years while they redid it and a bunch of stuff happened
that I don't need to go into, but we ended up getting . . . we ended up for nine years being over in
the old University Union, doing our productions in a multipurpose room, which, as everybody
knows, means the room is equally useless to everyone--so we did that for a long time. And then
finally we've been here now for what, this is our, what, third year in the space? And so actually
really, it's really our second year. Wait, is it? I guess it's our second year in the space [laughs].
Yeah. It's hard to keep track with COVID, when that was a year where we didn't have any space.
MJ: Was it fall of 2021?
DS: Yes.
MJ: Okay.
DS: Yes. So, that was when we came in here.
MJ: Okay. And what were your first impressions of the university when you arrived?
DS: [Pause] I was still--I don't know. I guess I felt . . . I really liked it immediately. And I'm just
trying to think about why, there were very positive impressions. I just--I think I just really liked
my colleagues, not just in the department, but that I'd meet in campus committees from all over
the place. It seemed like a very collegial place. I think that everybody--it was just a friendly,
welcoming place to work. And I was just so . . . I was so amazed that, “Wow, I'm a college
professor.” And I was just sort of walking around, blown away by that all the time. So it just felt
great to be here. It was very positive.
MJ: Okay. And what changes have you witnessed in terms of the makeup of the university, the
buildings, the faculty, majors, things like that?
DS: Well, I see a change that--I mean, in terms of the physical environment, it's much better
now. I mean, it was . . . let's be frank. I mean, a lot of the architecture on the campus used to be
really ugly [laughs]. We had this half of campus, the old half, which was beautiful. And then we
had the new half, which was really primarily just a bunch of like Soviet-era cubicles that just,
you know, these brick squares that were just really eyesores, I thought. And some of them still
are from the outside. You know, we've still got Spotts [World Culture Building] and Eisenberg
[Classroom Building]. But even Spotts and Eisenberg, they now look beautiful on the inside.
They were pretty ugly on the inside back then, too. And now they look really great on the inside,
at least. And they've added all these really beautiful buildings and refurbished some of the ones,
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 5

and knocked down those stupid tower dorms we had and put up those beautiful dorms that we
have now. So, yeah, I think Bob Smith as president really, you know, affected a lot of those
changes and I think they're great ones. So the physical plant is much more impressive than it was
when I got here. The faculty, I think, are pretty similar. Students are very different.
MJ: How so?
DS: In some ways, even though I said they're humble and good, and they still are. In many ways-I mean, because culture is very different, just the culture is very different. So, students are
different in that--I think students are--they started out really kind of conservative when I first got
there and their tastes and what they were willing to see on stage. And it mostly came from a
more sort of . . . I don't want to call it right wing, but it came from that more sort of conservative
side of things that they were easily shocked by things. But that actually changed during the ‘90s
and the 2000s where people--I felt like students got very, very open to anything. And then now
maybe we're getting a little bit more conservative again from another side of things, you know,
we have to worry more about what we do on stage and how it's perceived. And that's partly just
because students are more likely to think, oh, this feels like it embodies a perspective that is . . .
offensive in some way. We've got to really think about that now in a way that we kind of didn't
ten years ago. So that's really changed.
Another thing is that, I said our programs go to a BFA and it's a pre-professional degree. It feels
like in general, this is a cultural shift throughout the country. Liberal arts education is something
that is really starting to fade away. Everybody is starting to think of college as being a vocational
school, as vocational training. I am training for a specific job. I'm not training to become more-I'm more of a critical thinker and somebody who understands a lot more about how the world
works by reading literature and studying history and. . . . They're not about becoming a more
complete person as much, it's more, what can I do directly with this degree when I get out? And I
think administrations are responding to that. So the school, it still has a very strong liberal arts
component, but it is much more of a vocational school than it was, than it's ever been. And so I
think that's changed a lot.
MJ: Okay. Do you say these are better—for better or for worse, these changes?
DS: Oh, that's a tough one because I loved, I loved working in a liberal arts department when it
was a BA. There are some things that I think are really advantageous. There are some things I
miss about that. And yet . . . the idea of really being accountable for what the students are able to
do with the training they get here when they get out has been exciting too. It's like . . . I don't
know. I think, I just--now I think at first, I was sort of, I was a little resistant to the overall
change in the culture; in some ways I still am. But in the Theater Department, I actually really
like it too. I love it just as much as I loved being a liberal arts department, I just love it in a
different way. As I say it . . . it’s forced me to . . . I went back to and got all kinds of additional
training when I knew this BFA was coming, because I said, “There are things that I--there are
just skills that I need to beef up if I'm going to be part of making sure these students can, you
know, become a one-person corporation when they get out and start selling themselves.” And

Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 6

that--so that was really good for me. And it's been very exciting. So, I guess I can't say whether
it's positive or negative. It just feels--I guess it's positive in a different way.
MJ: All right. And what kinds of activities have you been involved in on campus?
DS: Oh, activities, like outside of the theater?
MJ: Maybe like including directing and things.
DS: Oh, yeah. Okay. So directing has been the big one. I've directed Hand to God, the last show
I did was my 51st production at Slippery Rock. So I've directed a lot here, that has been a major
activity I've been involved in outside of classes. I have . . . in terms of other things . . . oh, I was
advisor to the radio station for a little while. But that was--I was just very involved with them in
a very peripheral way because I didn't have much experience with that kind of thing. And I was-I've been very--I've been involved with the Dance Department, you know, doing collaborations a
lot because my wife [Nora Ambrosio] teaches in the Dance Department. She's chairing the
Dance Department this semester--on an interim basis--and used to for many years. So we
collaborate on stuff and . . . I guess that would probably be mostly what I've done for activities,
although I'm pretty active on campus like physically doing a lot of hiking stuff for the hiking
trails and doing that kind of stuff.
MJ: Nice! All right. And what would you consider your accomplishments? At Slippery Rock.
DS: Well [pause] I mean, in terms of lasting accomplishments, I do think that there are
generations of students who--at least there are generations of students who tell me that I had just,
I had a major effect on how they went through their lives after getting out of here. That some of
them, that they felt like they learned--I think they learned to trust their own imaginations here,
and to really use their imaginations and to believe in their own artistry. And I feel like there are
generations of students who have told me that that's the effect [I’ve] had, that they're still using
things that they discovered in a production with me or in a class with me, and especially . . . after
news of my retirement came out on social media. A lot of people were writing [to] me to tell me
that. And so that I guess feels maybe like the biggest accomplishment. I think for a long time I
helped establish a reputation for the department as being quite daring. And I don't mean just in
terms of how much swearing or sex and violence was on the stage, although that's probably part
of it [laughs], but also just conceptually daring. Wow. I can't believe they were willing to go there
with a Shakespeare play and try something so radical. And so, I think I helped establish a
reputation as a very daring and kind of radical place artistically for us here. And so I guess that
would be a big accomplishment too.
MJ: All right, and what would you consider your best and worst teaching moments?
DS: [Laughs] Best and worse teaching moments. Oh, jeez, you know what? I don't think [sighs] I
could narrow either one of those down to a single--oh, maybe [laughs] . . . maybe for the worst.
I'll say that one first. I got very used to having Theater majors in my class and I taught a class
called Playwriting. And it was always a mix of English majors, and other majors, and Theater
majors, but it was usually predominantly Theater majors. And so sometimes I would get up and
have people do a theater exercise as a way of stimulating something for writing.
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 7

And this one class I had where I had no Theater majors in it, I believe, and it was--I had this
great idea of how we were going to prepare for this one writing assignment, and this one I hardly
even had English majors in it, it was like Philosophy majors and History majors. And I got
everybody up thinking this theater exercise would be the greatest thing. And people just stood
there, and I was trying to get them to do this movement thing and nobody had any idea what I
was talking about. They were just completely baffled, and I realized, Oh my God, this is just a
complete fail. This is not working at all. And I completely read the room wrong. And so I just
had this absolutely embarrassing moment where we're just standing there. I said, “Okay, forget
that. Everybody sit down. Let's just write.” And [laughs] so that was probably my worst moment.
As far as a single best . . . no, I don't know. It's--there have just been so many of these moments
where I realized, Oh, my God, the students are really understanding what we're doing here and
it's making a big difference. It's changing them. I would say my two favorite classes that I've
taught here--one of them I'm teaching now, I'm getting to teach in my last semester--which is
wonderful, which is Movement for the Actor and my other favorite class was Playwriting. You
know, irrespective of that one [laughs] horrible moment, some of the best moments I've had were
teaching Playwriting when you just see a light bulb going on [pause] off of this writing exercise
and that is something that happens kind of pretty much on a daily basis in Movement for the
Actors. So it's just . . . those moments--those two classes that have been pretty electric. Those are
my best.
MJ: All right. And who were the leaders? Like the administration leaders and the faculty leaders
when you came here, the people who've been here for a long time.
DS: The chair of the department when I got here was Ken Harris and really a great guy, a very
good chair, good director. And he just knew everything about this place, and so he was a mentor.
I absolutely depended on him. He retired in 2000, I think, and then went on to become mayor of
Slippery Rock for a while. And he's still living in Slippery Rock. So he was the big leader when I
first got here.
MJ: All right. Any others like in the faculty, like the president, the deans, things like that?
DS: Oh, yeah. I mean, I feel like we've got a dean right now, Dan Bauer, who's just--who is more
of an advocate for the faculty than we've ever had as a dean; very, very active and very energetic.
And so that's--he's a great leader in that regard.
Some of the great leaders I could think of over the years, I really loved the president when we
first got here. President Aebersold was just the greatest guy and very supportive of the arts. Bob
Smith was an amazing leader, he was a couple of presidents after Aebersold. And he has
transformed the physical thing and helped drive through--this used to be a dry town, you know,
where you couldn't get a drink. And he changed that. And that honestly made this a much more
attractive place for students to come. And so anyway he really--I've seen a lot of leadership from
the administration.
Currently I would say, too, we have an incredible chair, Rebecca Morrice. She is just the ideal
chair. I think she is a great leader. Aaron Galligan-Stierle, who is in the office next door here,
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 8

who's head of the Musical Theater Program, has been just an amazing leader of that program.
He's the reason that we have like 800 people auditioning to get into this program every year now.
So, he has been just transformational in the place.
MJ: All right. And other people who influenced you or [were] significant in your time here. And
why?
DS: In my time here. Oh, well, I have to—I've listed most of them, but I would definitely say my
wife. I mean, definitely. I mean, not just, you know, she impresses me in so many different ways.
But I think that watching how she works as a chair and as a teacher! And I feel like I just—she-it's so great to be married to kind of a mentor. I mean, she had already been doing it for five
years when I started here. So she's in her thirty-fifth year. And so, oh my God, I just--she's been
just an invaluable resource and I've learned so much from her and still--I continue to. I think
she's just--I mean, I think they're going to miss me when I go; I don't know what they're going to
do without her.
MJ: All right. And major events or activities that happened while you were here? Related to the
department or just on campus in general.
DS: Oh, major events that happened here. Well, I mean, 9/11 happened, of course. And we'd just
gotten out of a chairs’ meeting with the dean. And I remember that and how, walking down into
the Student Union at the time, the old one, and seeing something on TV with flames and smoke
coming out of the Twin Towers. And just everybody going into shock and slowly--just the
crowds gathering around this TV set growing and growing and how shellshocked the university
was, but how we came together to deal with it.
Of course, the pandemic would be a huge, huge thing. And how, just how well the university and
the department dealt with that.
The strike of 2016! The faculty went on strike. That was amazing then, too. It was really
unfortunate how split the administration and the faculty became during that time. And I was
saddened by that. And I think there was just a tragic lack of communication between those two
sides. I don't know exactly how that happened. But I think that how APSCUF, how the union
came together, how everybody rallied and how we became just an unstoppable force during that
strike. As terrifying as it was, I remember I was terrified every day of that three-day strike, every
moment of it. It was [laughs] it was one of the scariest things—although it [pause]--that fear
turned into adrenaline. And I was pretty crazy active during that strike. But most everybody--and
the way the students rallied around us and would bring us food and bring like therapy dogs in for
us while we were out on the picket lines was, it was beautiful. And I would never, ever want to
go through that experience again, but I will never forget it either. And so much about it was just-was really beautiful.
MJ: So you were out there picketing for three full days?
DS: Yeah, three full days. And it was . . . our campus, that APSCUF chapter was so organized
and they just had us out, all at our particular stations. And we had shifts and we were--we made
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 9

these great signs. And for the most part, students were really behind us. There were a few who
were not, but for the most part it was--everybody really rallied behind us.
Yeah, it was--I don't want to get into the weeds too much, talking about the details of the strike.
But generally, I think the perception among the administration was: the faculty were getting
really greedy and asking for a bunch of stuff and that's why we were striking. Faculty perception
was that PASSHE [Pennsylvania State System of Higher Education], our state system, at a state
level, was trying to get us to strike. They thought that if we went on strike, that nobody would be
behind us and it would break the union, and that we were being pushed to strike. And so, we did.
And it was--from our perspective, really, all we were trying to do was keep the union together
and . . . so, I know I said the administration had a different perspective on it, but it was, yeah, we
were out there for three days fighting for that. And at the end of three days, we ended up taking a
contract where we made a bunch of significant concessions. But at the end of that, the union was
still very strong and together. And that's what we wanted all along.
MJ: All right. Any other memorable events or memories related to this place that you'd like to
share?
DS: Oh, it's funny, I was just asked this, too, about doing the podcast for the university, or they
asked me to a podcast about my years here. And so I was talking about different--they asked me
that question and there was one thing I didn't think of that--it's not exactly a memorable event it's
sort of . . . a memorable moment that I think of sometimes when I think of working here. I was
directing a show and we had to have a--we had to do a sound cue. That was a lot of this play
revolved around an event that happened in this character's life previously, where he had
discovered his mother dead in the basement, that she had been beaten to death and she was
bleeding. And he made a 9-1-1 call. And the 9-1-1 call became so famous that a rapper sampled
it and made this rap song out of it. And so it was this crazy play, and we had to record the 9-1-1
call. We decided we'll set it up with full makeup. We had the bleeding mom with full, you know,
gash in her head and bleeding on the floor of the sound booth where we’re working on this. And
we were getting ready and [laughs] the guy was getting ready to do it. We had a person with a
microphone and suddenly it just struck me, This is what I get to do for a living. It just, it was-and I started laughing hysterically. I just completely broke down into hysterical laughter because
I think I realized in this moment of doing this ridiculous thing we were doing, you know, we
weren't even going--it wasn't a film, nobody was going to see this mom and this thing, but we
decided to do it, the full makeup, just to make it more realistic for the actor. And something in
that moment made me . . . it still stands out to me because I just realized it was so joyous. And I
realized, My God, I'm so lucky that I get to [laughs], that this is what I get to do for a living. And
so that, sometimes when I think about my time here, that's the moment that I think about first.
MJ: What are you going to miss about the university?
DS: Oh, it's totally going to be working with the students, I mean, and my colleagues as well.
I'm going to miss them so much because I think this is a department where everybody's really
close and we become friends, and not just colleagues but friends. And so I'm going to miss them,
definitely.
Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania

Skeele, David 10

But it's moments with the students. I just--somebody else had asked me, you know, “Well, what
do you like about teaching college?” And I'm saying I sort of feel like everybody--every teacher
has their kind of age group that they should be working with. Some people, it's got to be
kindergartners. That's the perfect age for them to be working with. For me, it's this age. It's like
eighteen to twenty-two-year-old age because for me, I think of college as being where you find
out who you are, the place where you really figure out who you are. And I'm going to miss being
around for that. I really am. That's been just a joy for me: getting to watch people as they go
through that process of discovering who they are as people. That’s it.
MJ: Any words of wisdom to share for current people of The Rock or future people?
DS: Oh . . . take advantage of every moment. People don't realize how nostalgic they're going to
be about college later [laughs]; they're too focused on the things that are hard about it. And yeah,
maybe that's inevitable, but I would definitely say to try to work as much as you can on
treasuring the moments while you're in them. And that whole thing I was just talking about, but
in that process of figuring out who you are.
For students coming in, I would say try to say at every rehearsal I'm going to leave this rehearsal
knowing more than I did going in. I’m going to leave this rehearsal a better actor than I did
coming in. I'm going to leave this class better at what I'm doing here than I was when I came in.
Always try to go in with that mindset. Even if it's a bad class and you don't feel like your
instructor is giving you much that day. If you go in with that mindset enough, you're going to
take away something from something in that class that's going to make you a little bit better. If
you're looking for that every time.
MJ: All right. That's all I have for questions. Thank you very much.
DS: Sure.

Rock Voices: The Oral History Project of Slippery Rock University of Pennsylvania