We’re told many stories about the 1960s, typically clichéd tales of excess and revolution. But there’s more to the popular music of the 1960s. There are many ways in which rock music has shaped our ideas of individual freedom and collective belonging. Rock became a way for participants in American culture and counterculture to think about what it meant to be an American citizen, a world citizen, a citizen-consumer, or a citizen-soldier.
By Caitlin Tyler-Richards
In our first podcast of the season, managing editor Troy Reeves speaks with the newest addition to the Oral History Review (OHR) editorial staff, David J. Caruso. As you will learn, David wears a number of hats in the oral history community.
Biblical scholar Sara Japhet has been a leading authority on the two books of Chronicles since the publication of her landmark works The Ideology of the Book of Chronicles and Its Place in Biblical Thought (Hebrew 1977; English translation 1989), followed by I and II Chronicles: A Commentary in 1993.
Compiled by Natasha Zaman
It’s finally summer — the perfect time to spend with family and friends, enjoy the weather, gardens and parks, and to create fond memories. What better way to create those summer memories than have our favorite songs playing in the background?
At the April 2013 Annual Meeting of the Organization of American Historians, Susan Ware, General Editor of the American National Biography, discussed her first year in charge of the site and her vision for its future. Ware argues that one of the best ways to understand history is through the lives of history’s major and minor players.
The Jesus People movement emerged in the 1960s within the hippie counterculture as the Flower Children rubbed shoulders with America’s pervasive evangelical subculture. While the first major pockets of the movement appeared in California, smaller groups of “Jesus freaks” popped up—seemingly spontaneously—across the country in the late Sixties.
“Lucy in the Sky with Diamonds,” the iconic hit featured on the Beatles’ much-celebrated 1967 album, Sgt. Pepper’s Lonely Hearts Club Band, is probably among one of the most mesmerizing and musically inventive Billboard-toppers of all time.
Curated from the pages of Assimilate: A Critical History of Industrial Music, this playlist spans over 30 years, offering a chronological tour of industrial music. From its politically charged beginnings in noisy performance art and process-based tape meddling, it moved into 1980s flirtations with rock to its more recent aggressive, synth-driven goth-tinged dance stylings.
By Caitlin Tyler-Richards
As regular readers might have guessed, the Oral History Review staff has spent the last few months obsessing over oral history’s bright, digital future. However, now that special issue 40.1, Oral History in the Digital Age, is out, we’re taking a break — just a break! — to recall the oral history projects that run on something other than tagging and metadata. To that end, we were lucky enough to catch up with Professor Paul Ortiz, director of the Samuel Proctor Oral History Program (SPOHP) at the University of Florida.
Sunday 2 June marks the 60th anniversary of the coronation of Queen Elizabeth II at Westminster Abbey in London. It also therefore follows that it is the anniversary of the works which were first performed at the coronation, including William Walton’s Orb and Sceptre March and Coronation Te Deum, and Ralph Vaughan Williams’s O taste and see and Old Hundredth Psalm Tune (All people that on earth do dwell).
Professor Ian Goldin talks to Matthew Flatman of Pod Academy about the dilemmas our hyper-connected world faces. There are many benefits, but also many drawbacks, to our growing globalization and interconnectedness. How can we tackle these issues at a local, regional, national, and global level?
After listening to this week’s podcast with managing editor Troy Reeves and oral historian extraordinaire Doug Boyd, you might think the Oral History Review has fallen prey to corporate sponsorship. Let me assure you, dear audience, that we are not in bed with Starbucks, E-Harmony, or General Mills. Instead, it seems Doug, guest editor of our special issue “Oral History in the Digital Age” and author of “OHMS: Enhancing Access to Oral History for Free,” is prone to elaborate metaphors when describing oral history best practices.
By Annie Leyman
Love it or hate it, you can’t deny that the Eurovision Song Contest has a unique appeal. Although often seen as tacky, extravagant and occasionally politically controversial, that doesn’t stop around 125 million people around the world watching it each year! It has helped to launch careers, in the cases of ABBA and Bucks Fizz, as well as destroy them (cast your memories back to Jemini, aka ‘nul points’).
Are humans the only species to cry for emotional reasons? How are tears linked to human evolution and the development of language, self-consciousness, and religion? Which parts of the brain light up when we cry? How is crying related to empathy and tragedy? Why can some music bring people to tears? Below, you can listen to Michael Trimble talk about the topics raised in his book Why Humans Like to Cry: Tragedy, Evolution, and the Brain.
Every year, around mid-April, music lovers await the news that the BBC proms schedule has been announced. We look forward to the old favourites, the new commissions, the excited atmosphere, and some of the best performers in the world. When summer arrives, scores of people—young and old alike—travel to London to visit the Royal Albert Hall and be part of this great British tradition.
To celebrate the imminent release of Oral History Review (OHR)’s latest issue, 40.1, on oral history in the digital age, we’re delighted to share a chat between managing editor Troy Reeves and contributor Lindsey Barnes. Barnes and her colleague Kim Guise are co-authors of “World War Words: The Creation of a World War II–Specific Vocabulary for the Oral History Collection at The National WWII Museum,” a case study of developing controlled vocabulary for the oral history collections at the National WWII Museum.