Time, Anticipation, and the Life Course: Egg Freezing As

Total Page:16

File Type:pdf, Size:1020Kb

Time, Anticipation, and the Life Course: Egg Freezing As ASRXXX10.1177/0003122418796807American Sociological ReviewBrown and Patrick 7968072018 American Sociological Review 1 –24 Time, Anticipation, and the © American Sociological Association 2018 https://doi.org/10.1177/0003122418796807DOI: 10.1177/0003122418796807 Life Course: Egg Freezing as journals.sagepub.com/home/asr Temporarily Disentangling Romance and Reproduction Eliza Browna and Mary Patricka Abstract This study examines women’s use of egg freezing as a tool to renegotiate the relationship between romantic and reproductive trajectories and temporalities. We interviewed 52 participants who were considering freezing their eggs, were in the process of freezing their eggs, had already frozen their eggs, or had considered freezing their eggs and chose not to do so. We find that most of our participants used egg freezing to disentangle the trajectory of finding a partner from the trajectory of having children, with the end goal of bundled marriage and childbearing. For some participants, this temporary disentangling is an intermediate step toward fully decoupling these trajectories through single parenthood. Using this critical case, we move beyond previous work on sequencing and timing in the life course by focusing on (1) individuals’ subjective experiences of time and (2) the ways women manage and manipulate time in the life course. Finally, we show how these theoretical tools can be used to better understand other empirical cases in the life course. Keywords egg freezing, life course, reproduction, temporality, union and family formation Union and family formation are occurring at decades (Livingston 2018). In the midst of increasingly older ages for women in the these demographic changes, increasing num- United States. From the 1940s through the bers of women are using reproductive tech- early 1970s, women’s average age at marriage nologies—including in vitro fertilization (IVF) was 20; it has now crept up to 27 (U.S. Census (CDC 2017) and egg freezing (Society for Bureau 2017). Over the past few years, the Assisted Reproductive Technology 2018)—to average age of first birth has reached record manage and manipulate time in the life course. heights (Mathews and Hamilton 2016). Birth rates have simultaneously declined for women in their teens and early 20s and increased for aNew York University women in their 30s and 40s (Martin, Hamilton, Co-authors have equal authorship and are listed and Osterman 2017). Trends toward later tran- alphabetically. sitions are even more pronounced for women with higher levels of education, who are now Corresponding Author: Eliza Brown, New York University, 295 Lafayette more likely to begin childbearing in their 30s Street, Fourth Floor, New York, NY 10012 compared to their counterparts in earlier Email: [email protected] 2 American Sociological Review 00(0) Egg freezing is a new reproductive tech- trajectories in their lives—in our empirical nology that involves extracting and preserv- case, whether having children in the future is ing women’s reproductive cells in anticipation seen as tightly connected with or contingent of future infertility. The use of this technol- on finding a partner. In the case of individu- ogy to “stop time”1 by pausing the progres- als’ management and manipulation of time, sion of a critical life-course timeline raises we attend to how individuals create and revise important questions for sociologists of the life trajectories as they move through them, course. What draws women to egg freezing, including attempts to manipulate the relation- and what can egg freezing tell us about the ships among different trajectories in their management and manipulation of time in the lives, such as modifying the relationship life course more broadly? In this article, we between finding a partner and having chil- analyze how women use egg freezing to man- dren. We introduce the concept of disentan- age their anticipations of the future, and in glement of trajectories, a theoretical approach particular, to modify the relationship between that is critical for understanding the appeal of their reproductive and romantic trajectories egg freezing and that allows for a richer while still preserving the ideal of eventually understanding of individual actors’ progres- having children with a romantic partner. Our sion through the life course more generally. analysis, using conceptual tools from the We conducted interviews with 52 women sociology of time, allows us to rethink the in different stages of the egg freezing process. role of time in life course research while pro- We found that our participants used egg freez- viding useful conceptual tools and theoretical ing as a tool to manipulate subjective experi- insights for future work in the sociology of ences of time and to remake anticipations of the life course. the future. Women were fearful that rushing “Time, context, and process” (Elder 1994) to find a partner with whom to have children are critical elements in the study of the life was rationalizing their search for a romantic course, but researchers in this area have tended partner, making the process calculative and to analyze time as an impersonal, linear meas- contrived. This prompted them to situate new ure progressing chronologically, using “clock relationships on a long-term time horizon, as time” or “calendar time,” to study phenomena they sought to temporarily disentangle their such as aging, birth spacing, and union dura- partner search from long-term childbearing tion. These impersonal conceptualizations of goals. By temporarily disentangle, we mean time are useful for certain research purposes. cognitively isolating the different strands of However, as we will show, we cannot ade- experience and action so they could move quately understand the appeal and use of egg forward according to their own desired tem- freezing without attending to individuals’ sub- poralities. By pushing their imagined child- jective experiences of time and their anticipa- bearing timeline further into the future tions of the future, and without conceptualizing through egg freezing, women hoped to time as both something that actors experience bracket their childbearing goals and pursue as outside of their control and something they romantic partnership for its own sake, rather actively work to reshape. than pursuing partnership as a means to have Specifically, we go beyond examining children. They hoped that temporarily taking time in terms of objective, chronological apart these strands of experience and action measures to look at (1) individuals’ experi- would allow them to protect their romantic ence of time and (2) individuals’ management life from the rationalizing force of a ticking and manipulations of time. In examining indi- reproductive clock; participants aimed to viduals’ subjective experiences of time, we eventually rejoin these trajectories, that is, attend to actors’ sense of the flow of time, have children with the “right” partner. Lever- their anticipations of the future, and their aging these insights, we show that attending sense of the relationship between different closely to actors’ experiences of and attempts Brown and Patrick 3 to remake trajectories and temporalities in the have high incomes, and are in their late 30s life course opens up new lines of inquiry for (Baldwin et al. 2015; Hodes-Wertz et al. life course scholars and provides new ways of 2013; Myers 2017). Existing literature on egg thinking about older lines of inquiry. freezing has focused on a broad range of social implications of the technology. This includes the medicalization of anticipated THE CASE OF EGG FREEZING infertility (Martin 2010), the ethical issues Egg freezing, medically referred to as oocyte raised by the technology (Baldwin et al. cryopreservation, is a new2 and rapidly grow- 2014), the enactment of “responsible” repro- ing3 reproductive technology that potentially duction (Carroll and Kroløkke 2017), and the preserves women’s ability to produce genetic potential for egg freezing to reshape kinship offspring. We focus on women who are freez- structures (Schuman et al. 2013). ing their eggs because they anticipate having Egg freezing researchers disagree over difficulty getting pregnant and giving birth as whether the procedure is empowering (Goold they age. Women may also elect to freeze and Savulescu 2009; Homberg, van der Veen, their eggs for other reasons, such as cancer and Silber 2009; Mertes and Pennings 2011; patients or female-to-male transgender indi- Robertson 2014) or exploitative (Harwood viduals preserving their genetic material 2009; Smajdor 2009). Among studies geared before treatment. The process of egg freezing toward analyzing the appeal of egg freezing, includes one to two weeks of hormone stimu- the technology is occasionally framed as a lation. This is followed by an outpatient pro- way to delay childbearing until conforming to cedure to retrieve the eggs that bloomed intensive mothering ideologies is possible during that cycle. If a woman chooses to use (Baldwin 2017; Myers 2017). In contrast, her frozen eggs, she must fertilize them and evidence from survey research suggests implant them in her uterus (i.e., the second women do not use egg freezing to purpose- half of the IVF process). This may or may not fully delay childbearing. Instead, most women result in a viable pregnancy. The likelihood of who freeze eggs do so because they are single one round of IVF using frozen eggs resulting and looking for a long-term partner with in a live birth is between 3 and 30 percent whom to have children (Baldwin et al. 2015; (Cil, Bang, and Oktay 2013). Success depends Greenwood, Pasch, and Huddleston 2017; on the age at which the patient froze her eggs, Hodes-Wertz et al. 2013; Seyhan et al. 2017; the method of freezing used, and the number Stoop, Nekkebroeck, and Devroey 2011). In of embryos transferred.4 Egg freezing is what follows, we aim to adjudicate these con- rarely covered by insurance. Women gener- flicting accounts concerning why women ally pay upward of $10,000 for each cycle, in elect to freeze their eggs. addition to annual storage fees of around In addition to being a phenomenon worthy $1,000 and, if used, the cost of IVF.
Recommended publications
  • “Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
    “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights.
    [Show full text]
  • 1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
    "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979.
    [Show full text]
  • Exposure and Vulnerability
    Determinants of Risk: 2 Exposure and Vulnerability Coordinating Lead Authors: Omar-Dario Cardona (Colombia), Maarten K. van Aalst (Netherlands) Lead Authors: Jörn Birkmann (Germany), Maureen Fordham (UK), Glenn McGregor (New Zealand), Rosa Perez (Philippines), Roger S. Pulwarty (USA), E. Lisa F. Schipper (Sweden), Bach Tan Sinh (Vietnam) Review Editors: Henri Décamps (France), Mark Keim (USA) Contributing Authors: Ian Davis (UK), Kristie L. Ebi (USA), Allan Lavell (Costa Rica), Reinhard Mechler (Germany), Virginia Murray (UK), Mark Pelling (UK), Jürgen Pohl (Germany), Anthony-Oliver Smith (USA), Frank Thomalla (Australia) This chapter should be cited as: Cardona, O.D., M.K. van Aalst, J. Birkmann, M. Fordham, G. McGregor, R. Perez, R.S. Pulwarty, E.L.F. Schipper, and B.T. Sinh, 2012: Determinants of risk: exposure and vulnerability. In: Managing the Risks of Extreme Events and Disasters to Advance Climate Change Adaptation [Field, C.B., V. Barros, T.F. Stocker, D. Qin, D.J. Dokken, K.L. Ebi, M.D. Mastrandrea, K.J. Mach, G.-K. Plattner, S.K. Allen, M. Tignor, and P.M. Midgley (eds.)]. A Special Report of Working Groups I and II of the Intergovernmental Panel on Climate Change (IPCC). Cambridge University Press, Cambridge, UK, and New York, NY, USA, pp. 65-108. 65 Determinants of Risk: Exposure and Vulnerability Chapter 2 Table of Contents Executive Summary ...................................................................................................................................67 2.1. Introduction and Scope..............................................................................................................69
    [Show full text]
  • Inside Passages
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2011 Inside Passages Keema Waterfield The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Waterfield, eema,K "Inside Passages" (2011). Graduate Student Theses, Dissertations, & Professional Papers. 581. https://scholarworks.umt.edu/etd/581 This Professional Paper is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. INSIDE PASSAGES By KEEMA MARIE WATERFIELD-CARLSON BFA, University of Alaska, Anchorage, Alaska 2006 Professional Paper presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Nonfiction The University of Montana Missoula, MT Summer 2011 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School Associate Professor Judy Blunt, Chair Department of Creative Writing Associate Professor Nancy Cook, Co-Chair Department of English Associate Professor Jody Pavilack, Co-Chair Department of History Inside Passage We wait for the all clear to board on a black night, the moon stitching a diamond pattern on the Gastineau Channel, the white rails of the Matanuska ferry glinting like a carnival ride. I want to be out there walking a dog, stretching my legs between rows of idling cars like the young couple holding hands and strolling slowly while their yellow lab pees on every third tire.
    [Show full text]
  • The Songwriting Coalface: Where Multiple Intelligences Collide Clive Harrison, Australian Institute of Music, Sydney, Australia Contact: [email protected]
    Journal of Pedagogic Development Volume 7, Issue 3 The Songwriting Coalface: Where Multiple Intelligences Collide Clive Harrison, Australian Institute of Music, Sydney, Australia Contact: [email protected] Abstract This paper investigates pedagogy around songwriting professional practice. Particular focus is given to the multiple intelligence theory of Howard Gardner as a lens through which to view songwriting practice, referenced to recent songwriting‐specific research (e.g. McIntyre, Bennett). Songwriting education provides some unique challenges; firstly, due to the qualitative nature of assessment and the complex and multi‐faceted nature of skills necessary (lyric writing, composing, recording, and performing), and secondly, in some less‐tangible capacities beneficial to the songwriter (creative skills, and nuanced choice‐making). From the perspective of songwriting education, Gardner’s MI theory provides a ‘useful fiction’ (his term) for knowledge transfer in the domain, especially (and for this researcher, surprisingly) in naturalistic intelligence. Keywords: Songwriting, multiple intelligences, creativity, higher education Introduction From a research perspective, we do not seek a scientific theory of songwriting, for there exists no single, perfect, repeatable answer to the question of how to write a song. What is needed is a synthesis of objective scientific analyses, combined with an appreciation of the subjective nature of song and its reception by an audience, in order to understand and educate students of songwriting. Bennett usefully identifies song in terms of lyric, melody and chords (2011), a traditional perspective which distinguishes between the melody as sung and the chords (harmony) that serve to provide context for that melody. Stepping beyond that traditional perspective and recognising the important role of song recording‐as‐ text, rather than score‐as‐text, any definition of song must reflect the changing emphasis away from melody and towards rhythmic elements, and the shifting influence of producers.
    [Show full text]
  • Language and Jury Decision-Making in Texas Death Penalty Trials
    The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Doing Death in Texas: Language and Jury Decision-Making in Texas Death Penalty Trials Author: Robin Helene Conley Document No.: 236354 Date Received: November 2011 Award Number: 2009-IJ-CX-0005 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. UNIVERSITY OF CALIFORNIA Los Angeles Doing Death in Texas: Language and Jury Decision-Making in Texas Death Penalty Trials A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Anthropology by Robin Helene Conley 2011 This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S.
    [Show full text]
  • [Untitled: a Work in Progress]
    [Untitled: A Work in Progress] By Cydney Garbino I Torn Wet Red Blood, that’s blood She’s been cut Stabbed Invaded He entered her with his fingers his dirty diseased prick his knife his evil intentions and sick desire to be inside her… Deep. Her screams and pleas a song of anguish and fear music to his ears which envelops him and nearly makes him come that soft voice turning shrill and broken begging please stop stop please stop just let me go I wanna go home I won’t tell anyone I promise I swear to God please just let me go over and over less and less conviction with each repetition growing tired and weak he kept going and eventually it hurt less Numb. Silent. He didn’t like her quiet her response was the whole point Frustrated he draws his knife Blade glimmering in the moonlight…. sick sick sick shit that fucking sick motherfucker cruel bastard sick fuck! Sam I can’t think straight She’s on my mind Always It bothered me not seeing her in our 10 am lecture someone who’s usually so punctual and put together so perfect but, I guess she has seemed different lately... she comes in tardy once in awhile never more than 5 minutes mildly flustered disoriented Her presence is warm and comforting she has this pastel aura silken hair delicate lips sad eyes... she always smells like flowers not in that artificial perfume way Real flowers, a different kind every day Roses Lilies Carnations Peonies It’s like a game: which flower will she be today? Sometimes I feel like I should bring her flowers one of those fancy arrangements they have at the market those remind me of her so delicate and pretty not overwhelmingly drop­dead gorgeous Just pretty but not just pretty ​ ​ she’s a simple kind of beautiful and so much more, underneath it all.
    [Show full text]
  • Classical Hollywood Film Directors' Female-As-Object Obsession and Female Directors' Cinematic Response: a Deconstructionist Study of Six Films
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1996 Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films Sharon Jeanette Chapman Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Film and Media Studies Commons Recommended Citation Chapman, Sharon Jeanette, "Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films" (1996). Theses Digitization Project. 1258. https://scholarworks.lib.csusb.edu/etd-project/1258 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. CliASSICAL HOLLYWOOD FILM DIRECTORS' FEMALE-AS-OBJECT OBSESSION AND FEMALE DIRECTORS' CINEMATIC RESPONSE; A DECONSTRUCTIONIST STUDY OF SIX FILMS A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Sharon Jeanette Chapman September 1996 CLASSICAL HOLLYWOOD FILM DIRECTORS' FEMALE-AS-OBJECT OBSESSION AND FEMALE DIRECTORS' CINEMATIC RESPONSE: A DECONSTRUCTIONIST STUDY OF SIX FILMS A Thesis Presented to the Faculty of California State University, San Bernardino by Sharon Jeanette Chapman September 1996 Approved by: Dr. Bruce Golden, Chair, English Date Kellie Raybuirn Dr. e Pigeon ABSTRACT My thesis consists of a short study of the theoretical backgrounds of feminist film study and Classic Hollywood norms and paradigms to prepare the reader for six readings—Singin' in the Rain, Rebecca and Touch of Evil from the Classic male-directed canon; and Fast Times at Ridgemont High, Desperately Seeking Susan, and Home for the Holidays directed by women.
    [Show full text]
  • Anticipating Artistic Behavior: New Research Tools for Art Historians
    University of Kentucky UKnowledge Art & Visual Studies Faculty Publications Art & Visual Studies Summer 2004 Anticipating Artistic Behavior: New Research Tools for Art Historians Robert Jensen University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits oy u. Follow this and additional works at: https://uknowledge.uky.edu/art_facpub Part of the Art and Design Commons Repository Citation Jensen, Robert, "Anticipating Artistic Behavior: New Research Tools for Art Historians" (2004). Art & Visual Studies Faculty Publications. 1. https://uknowledge.uky.edu/art_facpub/1 This Article is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Art & Visual Studies Faculty Publications by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Anticipating Artistic Behavior: New Research Tools for Art Historians Notes/Citation Information Published in Historical Methods, v. 37, no. 3, p. 137-153. Copyright of Historical Methods is the property of Taylor & Francis Ltd. This is an Accepted Manuscript of an article published by Taylor & Francis in Historical Methods on Summer 2004, available online: http://www.tandfonline.com/10.3200/HMTS.37.4.137-154 Digital Object Identifier (DOI) https://doi.org/10.3200/HMTS.37.4.137-154 This article is available at UKnowledge: https://uknowledge.uky.edu/art_facpub/1 This is an Accepted Manuscript of an article published by Taylor & Francis in Historical Methods on Summer 2004, available online: http://www.tandfonline.com/10.3200 /HMTS.37.4.137-154 Anticipating Artistic Behavior: New Research Tools for Art Historians Historical Methods Vol.
    [Show full text]
  • Sherrod Sturrock Deputy Director
    Vol. 36, No. 2 Summer 2011 BEHIND-THE-SCENES IN THE ESTUARIUM: The new master plan adopted in 2009 calls for updating all three EXPLORING POSSIBILITIES of the permanent exhibit areas in By Kenneth R. Kaumeyer, Curator of Estuarine Biology the museum’s exhibition building. Part of that process involved going The aquarium exhibits at the museum opened in 1992 and were designed to showcase through an “Interpretive Planning the aquatic life of the Patuxent River to help visitors develop a greater appreciation for Process” to help us sort out what we the life that existed there. Much has changed since that time. The population of the area has grown substantially and tourism is now a dominant feature of the local economy, wanted to do in these areas. As we bringing in many people from outside the region. The original story that the Estuarium work through the exhibits, we are was designed to tell is no longer big enough, and the exhibits themselves are outdated. consciously trying to do a better job With the rapid technological advances of the past several decades, we now have the of integrating or relating the informa- ability to develop much more exciting and appealing presentations. Computer graphics tion, making it more relevant to our and lighting design options are now virtually unlimited, and visitor expectations parallel visitors, and more exciting to see, these changes in exhibit design. With this in mind, we have begun to rethink the gallery hear, and touch. with an eye toward updating both the approach and the presentation. We have completed the pale- ontology gallery, adding a new entry The BIG Idea: hall, video component, sound, and Anticipating an overall updating, we are planning to expand the theme from the interactive computers.
    [Show full text]
  • “Blue Moon of Kentucky”—Bill Monroe and His Blue Grass Boys (1947) Added to the National Registry: 2002 Essay by Richard D
    “Blue Moon of Kentucky”—Bill Monroe and his Blue Grass Boys (1947) Added to the National Registry: 2002 Essay by Richard D. Smith (guest post)* Bill Monroe Illuminating a major juncture in American popular music history--the crossroads of country music and rock 'n’ roll–is the “Blue Moon of Kentucky.” Originally composed as a lonesome but lovely waltz by Bill Monroe (1911-1996)--the innovative Rosine, Kentucky-born singer/bandleader/mandolinist who became a pillar of the Grand Ole Opry, was a major figure in the Folk Music Revival and is renowned as “The Father of Bluegrass”--it was later covered by the young Elvis Presley during his first commercial recording sessions. Indeed, it is musically and culturally significant that Presley's first single consisted of his crooning and insinuating version of Delta blues singer/guitarist Arthur Crudup's “That's All Right” on one side and a rollicking rockabilly arrangement (in 4/4 time) of Monroe's waltz on the other. The roots of rock in African American music are well known, but the parallel influence of white country music deserves greater understanding. The story of “Blue Moon of Kentucky” provides this. Bill Monroe’s earliest-known performance of “Blue Moon of Kentucky” was on the Grand Ole Opry on August 25, 1945. Monroe recorded it during his first session for Columbia Records (having previously been on RCA Victor Bluebirds) on September 16, 1946. The session was historic, both for its material and Monroe’s sidemen in the Blue Grass Boys. Participating in their first recordings with Monroe were superb lead vocalist/guitarist/songwriter Lester Flatt and the brilliant and seminal three-finger-style banjo picker Earl Scruggs.
    [Show full text]
  • ANTICIPATING CHANGE: Multi-Tier Framework for a Sustainable Energy Transition
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Capstone Collection SIT Graduate Institute August 2021 ANTICIPATING CHANGE: Multi-tier Framework for a Sustainable Energy Transition Francesca Cresta Follow this and additional works at: https://digitalcollections.sit.edu/capstones Part of the Development Studies Commons, Energy Policy Commons, Environmental Policy Commons, Environmental Studies Commons, Policy Design, Analysis, and Evaluation Commons, Politics and Social Change Commons, Social Influence and oliticalP Communication Commons, and the Social Justice Commons Recommended Citation Cresta, F. (2021). ANTICIPATING CHANGE: Multi-tier Framework for a Sustainable Energy Transition. This Thesis (Open Access) is brought to you for free and open access by the SIT Graduate Institute at SIT Digital Collections. It has been accepted for inclusion in Capstone Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. ANTICIPATING CHANGE: Multi-tier Framework for a Sustainable Energy Transition Francesca Cresta A capstone paper submitted in partial fulfillment of the requirements for a Master of Arts in Climate Change and Global Sustainability at SIT Graduate Institute, USA August 9, 2021 Advisor: Rim Berahab, Policy Center for the New South, Morocco CONSENT TO USE STATEMENT I hereby grant permission for World Learning to publish my capstone on its websites and in any of its digital/electronic collections, and to reproduce and transmit my CAPSTONE ELECTRONICALLY. I understand that World Learning’s websites and digital collections are publicly available via the Internet. I agree that World Learning is NOT responsible for any unauthorized use of my capstone by any third party who might access it on the Internet or otherwise.
    [Show full text]