I need a 1 page summary for the attached reading: SEX WITH THE SOUND ON, I also need a 1 page summary for the attached reading: PODCASTS AND PUBLIC HISTORY and I need a 1 page summary for the following podcast:
https://www.sexinghistory.com/episode-41
and I need the assignment completed by 6 PM my time on September 25, 2023. No other outside sources need to be used for each of these summaries.D ow nloaded from https://academ ic.oup.com /ahr/article/128/2/691/7204446 by The U niversity of Texas at El Paso user on 27 August 2023 #AHRHISTORYLAB 691JUNE 2023 Sex with the Sound On When Curtis Boyd remembers offering abortions before Roe v. Wade, he emphasizes his patients’ sheer determination. One of the first abortions he performed was for a poor white woman in her late teens from East Texas. Wearing a feed-sack dress and makeshift sandals, she came to Boyd when she was eight weeks pregnant. “I need you to do me an abortion,” she said. Curtis told her the procedure was illegal. “Don’t matter—you got to do me one,” she responded. Despite his initial trepidation, Curtis became resolved. “I’m going to do it,” he thought to himself. The following morning, he admitted the young woman to the emergency room, claiming that she had an incomplete, spontaneous miscarriage. Curtis performed a dilation and curettage without issue. He asked the patient to come back to his office a few days later, but he never saw her again.1 Gillian Frank, Saniya Lee Ghanoui, and Lauren Jae Gutterman D ow nloaded from https://academ ic.oup.com /ahr/article/128/2/691/7204446 by The U niversity of Texas at El Paso user on 27 August 2023 SEX WITH THE SOUND ON692 AMERICAN HISTORICAL REVIEW Reading these words on the page offers a window into the past. But hearing Curtis’s recollections in his own voice opens the door to a qual- itatively different reckoning with the historical record. In “A Sacred Calling,” the podcast episode of Sexing History pro- duced in collaboration with the American Historical Review, we tell the story of Curtis and Glenna Halvorson-Boyd, Curtis’s wife, who have provided abortion care since the 1960s in the face of increasing vio- lence from the antiabortion movement. Through oral histories with the Boyds, archival sound, and thematic music, “A Sacred Calling” uncovers a deep history of faith and love through a complex legal landscape of abortion access. Sexing History—a podcast that explores how the history of sexuality shapes our present—is a collaboratively produced, methodologically rigorous, deeply researched, and tightly scripted podcast that aims to share usable pasts with our listeners. Sexing History launched in 2017. Although our team has evolved over the years to include many assis- tant producers and research assistants, Gillian Frank and Lauren Jae Gutterman have been the cohosts from the beginning, and Saniya Lee Ghanoui and Rebecca Davis have continued to serve as editors and pro- ducers.2 We all have a research interest in the histories of gender and sexuality in the contemporary United States. We also share a deep com- mitment to publicly engaged scholarship and to the digital humanities. Before coming to Sexing History, we had gained collective experience working on a range of digital history endeavors, including the LGBTQ MediaWiki website OutHistory.org; the international history of sex- uality blog NOTCHES: (re)marks on the history of sexuality; and SourceLab, a research collective and online journal established by the Department of History at the University of Illinois Urbana-Cham- paign. But none of us had created a podcast or attempted to tell history through an audio medium before. Our project is overtly presentist. Over the past six years, Sexing His- tory has produced twenty episodes, covering topics including abortion access, African American midwifery and Black maternal mortality, gay rights, trans identity and health care, AIDS activism, and struggles against rape and sexual harassment. The breadth of our episodes speaks to our team’s capacious research interests and the contemporary sexual politics that provoke our intellectual inquiries. We share these histories because sexual politics is of urgent national importance, shaping both electoral outcomes and everyday lives. At its best, historical thinking can be an act of empathy encouraging identification with and under- standing of different people and the social forces that shape their lives. In that spirit, we use this podcast to reach a wide and intellectually curi- ous audience and to help our listeners develop a critical understanding of the history of sexuality and its connection to today. 1 Curtis Boyd, interview with Gillian Frank and Lauren Jae Gutterman, February 7, 2022. 2 Throughout Sexing History’s four seasons, Devin McGeehan Muchmore, Jayne Swift, Mallory Szymanski, Isabel Machado, Chris Babits, and Stephen Colbrook have served as assistant producers. Alexie Glover, Katherine Kenny, Hugh Mac Neill, Ian McCabe, Emily Vaughan, Felix Yeung, and Caroline Azdell have served as research assistants and interns. Frontis: Curtis and Glenna Halvorson-Boyd. Courtesy of Glenna Halvorson-Boyd D ow nloaded from https://academ ic.oup.com /ahr/article/128/2/691/7204446 by The U niversity of Texas at El Paso user on 27 August 2023 https://www.sexinghistory.com/episode-41 https://www.sexinghistory.com/ https://outhistory.org/ https://notchesblog.com/ https://sourcelab.history.illinois.edu/ #AHRHISTORYLAB 693JUNE 2023 Podcasts are an ideal way to reach people beyond the academy who care about history and who want to better understand the roots of our current cultural and political moment. As of this writing, historians are heatedly debating the value and scholarly merit of different forms of historical production, deliber- ating how blogs and other forms of online and digital content should be weighed against single-authored monographs. Digital history ini- tiatives like Sexing History connect academic scholarship with public audiences, disseminating not only research but also the tools that are so critical to our discipline: examining evidence to critically analyze provenance, intent, meaning, and application. At a time when mis- and disinformation have become ubiquitous, historians’ research and inter- pretive skills are of vital importance to the public, and digital methods can help us translate scholarship for those beyond the academic world. From our vantage point, then, as scholars situated within and outside the academy, and as historians who utilize multiple mediums for shar- ing our research, we maintain that our academic discipline is richer and more powerful when it encourages and values multiple modes of dis- seminating knowledge and engaging with varied audiences. Echoing the American Historical Association’s recently approved Guidelines for Broadening the Definition of Historical Scholarship, we also believe that public-facing work, including digital history endeavors, should be given greater weight and consideration in processes of hiring, tenure, and promotion. Our experiences working on Sexing History lead us to ask not whether digital history counts as “real” history but rather what we can gain analytically and methodologically, experientially and prac- tically, when we do the history of sexuality in a sonic space. The popularity of history podcasts like Revisionist History, Slow Burn, and You Must Remember This confirms that there is a widespread hunger for historical analysis and narratives from listeners within and outside academia. When we began Sexing History, there was a dearth of podcasts exploring the history of sexuality in the United States. The few podcasts that ventured into our field did so with sporadic episodes of varying quality. Most were created by nonspecialists who veered toward sensationalism rather than careful storytelling and research. At the same time, the growing accessibility of recording hardware, mixing software, and online distribution platforms has made it possible to cre- ate and disseminate high-quality multitrack recordings from virtually anywhere. The moderate learning curve required to use this hardware and software means that historians have the ability to reach audiences D ow nloaded from https://academ ic.oup.com /ahr/article/128/2/691/7204446 by The U niversity of Texas at El Paso user on 27 August 2023 https://www.historians.org/research-and-publications/perspectives-on-history/february-2023/guidelines-for-broadening-the-definition-of-historical-scholarship https://www.historians.org/research-and-publications/perspectives-on-history/february-2023/guidelines-for-broadening-the-definition-of-historical-scholarship SEX WITH THE SOUND ON694 AMERICAN HISTORICAL REVIEW far beyond college and university campuses. This convergence of technological availability; popular demand for historical analysis; and widespread interest in issues of contraception, sexual expression, and LGBTQ identities created an opportunity for us to share our craft and expertise with wide audiences. As with any digital history project, our approach to Sexing His- tory has evolved over seasons. Our earlier episodes featured audio re- creations and interviews with historians. We quickly learned, how- ever, that these features detracted from the narrative arc and that sonic archives best served to illustrate the histories, augmented by background music and first-person accounts. As such, we chose to make a podcast that relies heavily on archival audio clips and oral his- tory–centered storytelling. Over the years, we have also sharpened our production skills and strengthened our ability to write engaging and streamlined historical narratives for a public audience. We have become more comfortable and more adept at using microphones and digital recording and editing software like Audacity. The public recognition, audience base, and body of work we have built have also made it easier to convince individuals to share their stories or their personal archives with us. Of course, some aspects of our work have remained the same. As we brainstorm topics for potential episodes and determine their via- bility, our organizing questions are always “What archival recordings are available to compellingly present our story?” and “Which his- torical actors can we interview to augment these archival sources?” Each Sexing History episode weaves together archival recordings, oral histories, and period-appropriate music into the interpretive frameworks offered by the podcasts’ cohosts. In doing this work, we have become increasingly aware of the ways that historians’ reliance on print media shapes the stories we tell. Working in an auditory medium has shifted not only how we do history but also which his- tories we decide to spotlight. Each episode is a collaborative affair, and our team starts with a series of questions that we outline on a specific topic. These lines of inquiry ignite our research as we dig into traditional secondary and primary sources, such as newspapers, correspondence, and legal archives. At the same time, we begin our conversations about what the episode will sound like and who can tell the story. We have found that many people want to tell their stories, and oral histories layer in critical personal elements to the histories we tell. For example, we have interviewed Sherri Chessen, whose fight to secure a therapeu- tic abortion before Roe helped to transform public attitudes toward abortion; we have talked with multiple flight attendants who orga- nized against sexual harassment in the 1970s; and we have spoken D ow nloaded from https://academ ic.oup.com /ahr/article/128/2/691/7204446 by The U niversity of Texas at El Paso user on 27 August 2023 #AHRHISTORYLAB 695JUNE 2023 with former workers at a bar in Roanoke, Virginia, that became one of the first in the nation to feature topless dancers in the 1960s. Like any good piece of writing, our scripts go through an extended process of development. After brainstorming and conducting research and oral history interviews, we jointly draft the script and put it through rounds of edits and revisions, noting where oral history clips will augment the argument and what type of music could serve as back- ground. We then record the episode—often editing the text further for “speakability”—before moving to postproduction mixing, clean- ing, and distribution. Our team mines rich, and largely untapped, audio archives that historians too often ignore. Finding and recovering archival sounds requires the resourcefulness and research skills that are central to our discipline. We comb through holdings of traditional archival repositories and request or make digital copies of select recordings. We scour WorldCat and use interlibrary loan to access LPs, cas- settes, CDs, and video recordings in hopes of finding useful audio. We also tap into the growing online digital holdings of libraries and crowdsourced collections including YouTube, Vimeo, and the Internet Archive. Our episodes have featured archival gems such as a rare 1980s phone sex recording from the National Archives. This recording of 6969 Fantasy Palace’s answering message outlines the different sexual pleasures awaiting callers at various phone exten- sions (e.g., “lusty lasses,” “kinky surprise,” etc.), revealing callers’ rote sexual fantasies as well as the humor and camp sensibility that often underlay the industry. Other exceptional archival audio finds include a 1977 Psychology Today interview with overlooked folk singer and transgender celebrity Canary Conn. The interview reveals how Conn struggled to convey her life story and to educate the public about trans identity within a medicalized and sensation- alistic media gaze. Other audio material has come to us directly. We reach out to individuals and families involved with historical events who have often been willing to share their personal materials with us. Our episode “Mama Was a Star” featured never-before-heard songs of a 1960s comedian, Ruth Wallis, from her son’s private archive. Wallis’s songs and performances included sexually suggestive lyr- ics, and she appeared in supper clubs and hotel shows across the world. Her son, in possession of her audio archive, reached out to Sexing History offering us access. Podcasting presented the per- fect medium for Wallis’s story. Her bawdy lyrics, sultry voice, and playful presence could not be thoroughly communicated via writ- ten text alone. We paired her private written