Editors' Introduction

This issue of the Oral History Review marks a transition. As of January 1, 2012, the editorship of the Review changed hands. After six years at the University of North Dakota, under editor Kimberly K. Porter, the editorial office—or, more accurately, offices—have moved to the University of San Francisco under incoming editor Kathryn L. Nasstrom and to a new managing editor's office at the University of Wisconsin-Madison, under incoming managing editor Troy Reeves. Kathy will be responsible for the overall management and development of the journal and Troy will oversee its production. The current issue represented a division of labor among the outgoing and incoming editors. Kim's office developed the content of the journal and Kathy's and Troy's offices saw the issue through production.

In keeping with tradition, this issue of the Review presents oral history and oral historians in their broad contexts. David A. Reichard's "Animating Ephemera through Oral History: Interpreting Visual Traces of California Gay College Student Organizing from the 1970s" suggests how oral history can help animate ephemera, providing researchers a way to enhance the interpretive value of fleeting evidence; he provides a fascinating collection of ephemera for our consideration. Danielle Miller and Maree Stanley's "Interviewing the Interviewers: Difference, Knowledge Sharing and Cohesion within the Queensland Speaks Interviewing Team" commences from a somewhat more formal subject: government officials in Queensland, Australia. Their work explores the development of a coherent oral history project, which emerged without the boundaries imposed by a dominant research question and/or a team of interviewers originating from the same discipline.

"'Molten Light: The Intertwined History of Steel and Photography'—The Roles of Oral Histories and Other First-Person Accounts" by Howard Bossen and Eric Freedman discusses the development of an international project integrating oral histories with a multinational photographic exhibition exploring the intermeshed histories of two subjects often taken for granted: steel and photography. Be certain to follow the Web links to view many of the exhibition's photographs. Manufacturing and productivity also enervate Sjoerd Keulen and Ronald Kroeze's "Back to Business: A Next Step in the Field of Oral History: The Usefulness of Oral History for Leadership and Organizational Research." Their work challenges readers to consider that "elites" just might have something to offer a methodology more traditionally focused on the "bottom-up" perspective. And, of course, the issue offers the usual collection of book and media reviews to stir the mind.

The next issue of the Review will be developed and produced by the new editorial team, which includes a new digital initiatives editor, Doug Boyd. Doug, Kathy, and Troy are working with the Oxford Journals staff to transform the Oral History Review into a more fully multimedia journal. These and other changes will unfold in future issues.

The Editorial Board is similarly undergoing a transition. The board that supported Kim was in place for three years, and we thank those board members for their dedicated service to the journal. A number of them are extending their commitment to the journal by serving on the incoming board. The new board is listed on the inside cover of this issue, as is the new editorial team.

In this time of transition, two people are providing the stability of continuity. John Wolford is continuing as book review editor, and both the outgoing and incoming editors are deeply grateful to John for expanding the book review section. The incoming editors hope to continue the practice of reviewing a high volume of works related to many facets of oral history theory and practice, although some reviews may be moving to online-only publication, as we develop the multimedia capacity of the journal. Jennifer Abraham Cramer is continuing as media and nonprint review editor. We expect to feature a greater number and variety of media reviews, to include film, exhibits, performances, and other multimedia and hypermedia formats.

The new editorial team seeks, welcomes, and encourages your input. Let us know your ideas for the journal and submit your work for publication. Contact information for the editors, as well as submission guidelines...