Oxford University Press's
Academic Insights for the Thinking World

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Sixties British Pop in the Classroom

By Gordon Thompson

Baby boomers have not only fundamentally shaped our modern world, but also how their children (and grandchildren) perceive that world. The generation that gyrated with hula hoops and rock ‘n’ roll also embraced British pop music (among other things) and have bequeathed this aesthetic to today’s college students. On campuses across North America, students amble to classes with “Beatles” patches on their book bags while their college radio programs often include music by the Rolling Stones, the Who, and the Kinks. At Skidmore College in Saratoga Springs, New York a few years ago, a Facebook survey identified the Beatles as the favorite campus musical artists, followed closely by Bob Dylan. Given the continuing importance of a band that dissolved in acrimony over forty years ago, a question arises: does this subject merit inclusion in the college curriculum? The answer is clearly, yes.

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Not enough grit?

By Kathryn Kalinak

The Oscar for Best Original Score has been in the news recently—and not in a good way. Three excellent film scores have been disqualified for Oscar nomination because in one way or another, all were deemed not “original” enough: Clint Mansell’s score for Black Swan (too much Tschaikovsky) and Carter Burwell’s scores for The Kids Are Alright (too many songs) and True Grit (too dependent on pre-existing music). As a great fan of the western and its film scores, I was truly disappointed by the True Grit disqualification. Burwell’s score is a gem, harking back to the classic western film scores of the studio era while simultaneously updating them.

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December 1960: A wild time for the Beatles

By Gordon Thompson

The Beatles reinvented themselves several times over their career, from comic mop-tops to psychedelic gurus to post-modern self-directed artistes; but perhaps one of their most remarkable transformations occurred before most of Britain or the world even knew they existed.

Fifty years ago, as the winter 1960 seeped into Britain, the Beatles returned from a little over three months on the stage boards of Hamburg’s Kaiserkeller where they had put in hundreds of hours of performance. Back in August, John Lennon, Paul McCartney, George Harrison, and Stu Sutcliffe had recruited Pete Best (and his relatively new drum kit) at the last minute for their very first club residency in the St. Pauli District of West Germany’s busiest port.

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In Memoriam: Composer Jerry Bock

By Philip Lambert
When Jerry Bock died on November 2, three weeks shy of his eighty-second birthday, the American musical theater lost one of its most expressive, gifted composers. With lyricist Sheldon Harnick, Bock wrote the scores for three of the most celebrated musicals Broadway history, Fiorello! (1959), She Loves Me (1963), and Fiddler on the Roof (1964), and for four other excellent shows during a fourteen-year partnership (The Body Beautiful, 1958; Tenderloin, 1960; The Apple Tree, 1966; The Rothschilds, 1970). His work stands as a testament to the value of musical craftsmanship, dramatic sensitivity, and artistic generosity on the Broadway stage.

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The Who and “My Generation,” November 1965

Tweet By Gordon Thompson   Forty-five years ago, in the anarchic world of mid-sixties British rock—with every major British act releasing records and storming the world—a unique record bullied its way into British consciousness that turned the conventions of the pop disk end-for-end.  Pete Townsend had penned a song that cut to the core of […]

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John Winston Ono Lennon, Everyman

By Gordon Thompson
On 9 October, many in the world will remember John Winston Ono Lennon, born on this date in 1940. He, of course, would have been amused, although part of him (the part that self-identified as “genius”) would have anticipated the attention. However, he might also have questioned why the Beatles and their music, and this Beatle in particular, would remain so current in our cultural thinking. When Lennon described the Beatles as just a band that made it very, very big, why did we doubt him?

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George Martin Goes Independent, 2 Sept 1965

By Gordon Thompson
When George Martin first entered the recording industry in the early 1950s, assisting Oscar Preuss at EMI’s Parlophone, he encountered the end of the mechanical era. The company’s facilities on Abbey Road in genteel St. John’s Wood still used lathes to record sound by cutting grooves in warm wax with energy provided by weights and pulleys, like a child of Big Ben. The sheer mechanics of this kind of professional recording demanded large…

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Those All-Important First Teachers

By Amy Nathan
“I only want to play cartoon music!” That was the pre-condition my older son made at age seven for being willing to begin piano lessons. He loved music, having become a fan of the Empire Brass Quintet after seeing them on Mr. Roger’s Neighborhood on TV, and was waiting eagerly until he was old enough to toot a trumpet. But learning something about the basics of music in the meantime by taking piano lessons — that he wasn’t sure about. So he made his cartoon-music demand.

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The Beatles Arrive in Hamburg, August 1960

By Gordon Thompson
Although Americans often talk about a “British Invasion” that started in February 1964, the groundwork for that cultural phenomenon may actually have begun fifty years ago this month when, on 17 August 1960, the Beatles began performing at the Indra, a small club in red-light district of the West German city of Hamburg. The van and ferry ride to Hamburg with manager Allan Williams had the Beatles arriving at night in one of Europe’s most decadent enclaves. The St. Pauli district thrived on sex

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The Beatles, Orientalism, and Help!

By Gordon Thompson
At the July 29, 1965 premiere of the Beatles’ second film, Help!, most viewers understood the farce as a send-up of British flicks that played on the exoticism of India, while at the same time spoofing the popularity of James Bond. Parallel with this cinematic escapism, a post-colonial discourse began that questioned how colonial powers justified their economic exploitation of the world. Eventually, Edward Said’s Orientalism would describe the purpose of this objectification as “dominating, restructuring, and having authority over the Orient” (1978: 3). In effect, Said and others argued that portrayals of the non-Western other

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