By J.E. Anckorn and Amy Mugglestone
At 8:35 pm on Boxing Day of 1967, the people of Britain gathered around their television sets to witness the Beatles’ new film project, Magical Mystery Tour. Their first filmed project since the daffy caper Help! (1965) accidentally created the sound of the late ’60s, the project was meant to act as a replacement for the live shows they were no longer performing…
Christmas cards became ubiquitous in the post-war era, when millions of Americans retreated to a more secluded existence in the rapidly developing suburbs. As small towns—idealized by Frank Capra and Norman Rockwell, among others—started to be displaced by tract housing complexes and chain stores, embellished scenes of the vanishing idyllic communities became a standard trope on greeting cards…
For the pop-minded inhabitant of the British Isles in the late ’70s, the dull edifice of the passing weeks rested upon the two mighty, glowing columns that made it all bearable: the British Top 40 countdown, broadcast from 5:00 on BBC Radio 1 every Sunday evening (cancelled only once as a result of what would prove to be an inexplicably traumatic event for the nation: the 1997 death of Lady Diana) and Top of the Pops…
This issue of the Boston edition of TV Guide, released the week before Christmas 1987, presents a bunch of ads for Christmas television and Christmas gift ideas. Taken as a whole, the ads provide a window into Christmas traditions old and new at the end of the decade…
Avalon Hill, known for historical wargames like Blitzkrieg (1965) and PanzerBlitz (1970) at this point, released the Witchcraft Ritual Kit and Black Magic Ritual Kit on the heels of The Exorcist, the occult blockbuster that saw demon “Captain Howdy” enter the material world (and eventually a 12-year-old girl) via a Parker Brothers Oija Board…
British-born illustrator David Macaulay is best-known for books like Castle and City, where he used his talent for detailed black and white pen and ink drawings to lay bare the mechanics and architecture of his subjects, revealing their inner workings…
The vogue for illustrated mini-encyclopedias of world knowledge came into its own in the postwar period in the West. The spirit of New Frontier, space-age optimism led traditionally non-educational publishers into the educational field, usually by producing striking, lavishly-illustrated, glossy full-color gazetteers on particular areas of knowledge…
I first heard The Hurting in 1986. A girl in my high school—a girl I had a big crush on—taped it off her older brother’s LP and let me borrow it (older siblings were like our Spotify). She never got that tape back. I knew of Tears for Fears at the time—everybody did. Songs From the Big Chair had blown up in the US in the summer of 1985…
By K.E. Roberts
London’s Ultravox was John Foxx’s band for three increasingly brilliant albums. Their debut, 1977’s Ultravox!, is an uneven but essential distillation of Roxy Music, art-rock-era Brian Eno (who produced, along with Steve Lillywhite), prog, minimalist electronica, and dub. The same year’s Ha!-Ha!-Ha!, on the other hand—a mere eight months separated the albums—is a focused and unsparing gnashing of teeth…
‘Til Tuesday formed in the early ’80s in Boston, from the same scene that had fostered post-punk legends Mission of Burma. Vocalist/bassist Aimee Mann had been in local punk outfit Young Snakes, and both Mann and ‘Til Tuesday drummer Robert Hausman had attended Boston’s prestigious Berklee College of Music…
We Are the Mutants 