IN: Monroe was born on his family's farm near Rosine, Kentucky, the youngest of eight children of James Buchanan "Buck" and Malissa (Vandiver) Monroe. His mother and her brother, Pendleton "Pen" Vandiver, were both musically talented, and Monroe and his family grew up playing and singing at home. Bill was of Scottish heritage. Because his older brothers Birch and Charlie already played the fiddle and guitar, Bill Monroe was resigned to playing the less desirable mandolin.

In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties.  Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations-- first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina from 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give in Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938.  After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted "Old Hickory" to become one of the original members of his "Blue Grass Boys", however William Hardin had to decline.  In October 1939, Monroe successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.  While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David "'Stringbean" Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
QUESTION: Did he produce albums?
IN: Karen Horney was born Karen Danielsen on 16 September 1885 in Blankenese, Germany, near Hamburg. Her father, Berndt Wackels Danielsen (1836-1910), was Norwegian but had German citizenship. He was a ship's captain in the merchant marine, and a Protestant traditionalist (his children nicknamed him "the Bible-thrower", as he did indeed throw Bibles). Her mother, Clotilde, nee van Ronzelen (1853-1911), known as "Sonni", was also Protestant, of Dutch origin.

Horney also shared Abraham Maslow's view that self-actualization is something that all people strive for. By "self" she understood the core of one's own being and potential. Horney believed that if we have an accurate conception of our own self, then we are free to realize our potential and achieve what we wish, within reasonable boundaries. Thus, she believed that self-actualization is the healthy person's aim through life--as opposed to the neurotic's clinging to a set of key needs.  According to Horney we can have two views of our self: the "real self" and the "ideal self". The real self is who and what we actually are. The ideal self is the type of person we feel that we should be. The real self has the potential for growth, happiness, will power, realization of gifts, etc., but it also has deficiencies. The ideal self is used as a model to assist the real self in developing its potential and achieving self-actualization. (Engler 125) But it is important to know the differences between our ideal and real self.  The neurotic person's self is split between an idealized self and a real self. As a result, neurotic individuals feel that they somehow do not live up to the ideal self. They feel that there is a flaw somewhere in comparison to what they "should" be. The goals set out by the neurotic are not realistic, or indeed possible. The real self then degenerates into a "despised self", and the neurotic person assumes that this is the "true" self. Thus, the neurotic is like a clock's pendulum, oscillating between a fallacious "perfection" and a manifestation of self-hate. Horney referred to this phenomenon as the "tyranny of the shoulds" and the neurotic's hopeless "search for glory". She concluded that these ingrained traits of the psyche forever prevent an individual's potential from being actualized unless the cycle of neurosis is somehow broken, through treatment or, in less severe cases, life lessons.
QUESTION:
DId she believe women were prevented from self actualization?