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.
The songwriting business offered few opportunities to women in the early 20th century. And jazz bandleaders, despite their own experiences with discrimination, were hardly more tolerant of female talent. Although audiences expected the leading orchestras to showcase a ‘girl singer’, women were rarely allowed to serve in other capacities, either on the bandstand or writing arrangements and compositions.
This Sunday, if you give (or receive) cards, flowers, and gifts for Mothering Sunday, spare a thought forConstance Adelaide Smith. In 1913 Constance read an article in a local newspaper which described plans to introduce to Britain an American ‘Mother’s Day’ celebration. The aim, as devised by the Philadelphian Anna Jarvis, was to establish a celebration to be held annually on the second Sunday in May
Love is in the air at Oxford University Press! As we celebrate Valentine’s Day, we’ve asked staff members from our offices in New York, Oxford, and Cary, NC, to share their favorite love songs. Read on for their selections, and be sure to tell us what your favorites are too. Happy Valentine’s Day!
Today, 11 February 2013, marks the 50th anniversary of the death of the poet Sylvia Plath (1932-1963). It is an event that has significantly shaped biographies and critical studies of her work — particularly following the publication of Ariel (1965), her posthumous collection edited and prepared by Ted Hughes. Then, as now, many reviewers regarded these poems as foretelling the circumstances of her death. Plath’s biography in the Oxford DNB offers an alternative perspective.
From the 1920s to the 1950s, Ira B. Arnstein was the unrivaled king of music copyright litigants. He spent the better part of those 30 years trying to prove that many of the biggest hits of the Golden Age of American Popular Song were plagiarized from his turn-of-the-century parlor piano pieces and Yiddish songs. “I suppose we have to take the bad with the good in our system which gives everyone their day in court,” Irving Berlin once said, but “Arnstein is stretching his day into a lifetime.”