Fiber initials (epidermal cells of the ovule) begin their elongation phase on the morning of anthesis and are bounded by a thin primary wall. Stomata are abundant, particularly at the chalazal ends of ovules. Fertilization is accomplished, for most ovules, by the end of the first day postanthesis. Multipored pollen grains germinate in about ½ hr after deposition on the stigmatic hairs. Flower opening occurs at about daylight, although light is not required. The maximum rate of increase in floral bud length occurs during the 24 hrs preceding anthesis. In about 85 % of the flowers the basal, abaxial surface of two of the three bracts contains an outer involucral nectary occasionally, none, one, or three nectaries are found. Floral parts are morphologically well defined by two weeks preanthesis. The first floral bud occurs on the 7–9th node approximately 35–40 days postemergence 20–25 additional days elapse until anthesis. 1 ( 2011): 1– 17 CrossRef Google Scholar and the essays in Whiteley, Sheila ed., Sexing the Groove: Popular Music and Gender ( New York: Routledge, 1997) Google Scholar.This report assembles and pictorially presents observations on the timing of relatively uniform and well-defined developmental events in the cotton flower and its component parts. 1 ( 2003): 65– 94 CrossRef Google Scholar Hamilton, Jack, Just around Midnight: Rock and Roll and the Racial Imagination ( Cambridge, MA: Harvard University Press, 2016) CrossRef Google Scholar Mahon, Maureen, “ Listening for Willie Mae ‘Big Mama’ Thornton's Voice: The Sound of Race and Gender Transgressions in Rock and Roll,” Women and Music: A Journal of Gender and Culture 15, no. 1 ( 2008): 54– 62 CrossRef Google Scholar Coates, Norma, “ Teenyboppers, Groupies, and Other Grotesques: Girls and Women and Rock Culture in the 1960s and Early 1970s,” Journal of Popular Music Studies 15, no. 4 For just a few of many examples of scholarship on rock history narratives, see: Brooks, Daphne A., “ The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism,” Women and Music: A Journal of Gender and Culture 12, no.

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