The track went on to enjoy lasting popularity, including within the LGBT community, and achieved sales in excess of 5 million copies. It was also a hit throughout continental Europe, topping the charts in Italy and Spain. 8 on the UK Singles Chart, becoming the band's first top 10 entry in their home country. "Enola Gay" met with largely positive reviews but was seen as unlikely to impact the charts aside from its subject matter, the song faced some resistance due to its being perceived as a gay anthem. As is typical of early OMD singles, the song features a melodic synthesizer break instead of sung chorus.
Written by vocalist/bass guitarist Andy McCluskey, it addresses the atomic bombing of Hiroshima by the aircraft Enola Gay on 6 August 1945, toward the conclusion of World War II.
" Enola Gay" is an anti-war song by the British synth-pop band Orchestral Manoeuvres in the Dark (OMD), and the only single taken from their 1980 album Organisation. This investigation further concludes that museum attempts to use this aspect of The Narrative Dimension offer an innovative way to curate difficult knowledge.Orchestral Manoeuvres in the Dark singles chronology Part of The Narrative Dimension includes critical engagement with a country’s master national narrative templates and those that problematize them.
It suggests a new curricular imperative coined The Narrative Dimension for history education that might also be used in museology and public history. This study offers a new research approach for the identification, and analysis of national narratives in sites of pedagogy-classrooms, textbooks, monuments, national historic sites, museums, news media, architectural spaces, arbitrated cityscapes, Indigenous landscape features, and public performances. In other instances, NN 3.0 throws into question taken-for-granted notions around the concepts of nationhood and national identity, through narratives grounded in land, place, or global forces. Rather, NN 3.0 captures competing, or silenced aspects of Canadian history through national narratives that contest, rebuke or, intervene in the storylines of Master National Narrative Templates 1.0 and 2.0, thereby providing a more nuanced account and multiple perspectives on Canadian identity. This framework identified two master national narrative templates-Master National Narrative Template 1.0 (the progressive, unified, Euro-Western colony-to-nation narrative of Canada), Master National Narrative Template 2.0 (Canada as a progress-oriented, generous, tolerant, multicultural mosaic)-and a third dimension titled Counter National Narratives 3.0, that is not a narrative template. This research also introduced and utilized a Framework of Canadian National Narratives capturing current constructions of Canadian national identity. Using a theoretical frame that applied approaches within critical museology and historical consciousness, this investigation interrogated the CMHR as a site of pedagogy that could be read for its representational and spatial meanings, and as a site of historical consciousness that communicates a past, present, and future vision of Canada. Within this milieu, Canada recently (2014) inaugurated its sixth national museum, the Canadian Museum for Human Rights (CMHR), in Winnipeg, Manitoba. As Canada prepares for its 150th birthday, within the context of its colonial legacy, silenced histories, and multiple, shifting identities in the present, Canadian sites of pedagogy are confronting questions around whose national narratives they are communicating.