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Beatles\u27 Press Conference
No full textPress pass issued to Gregg Todd of Holiday Inn Magazine. Signed by T.J. (Jerry) Foley, Jr.
This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).https://digitalcommons.memphis.edu/speccoll-mss-shelbycountytn5/1013/thumbnail.jp
The Repertory Theatre of Boston, program, Boston, Massachusetts, 1927
No full textProgram for A Midsummer Night\u27s Dream , at The Repertory Theatre of Boston Boston, Massachusetts, Eleventh Season, week of 1927 April 18.https://digitalcommons.memphis.edu/speccoll-mss-ewperry1/1005/thumbnail.jp
The Auditorium, program, Saint Paul, Minnesota, 1907
Get PDFProgram for Cinderella Ball, The Auditorium, Saint Paul, Minnesota, 1907 November 12. Given Under the Auspices of The Arts Guild of Saint Paul.https://digitalcommons.memphis.edu/speccoll-mss-ewperry1/1003/thumbnail.jp
Memphis Convention Center, program, Memphis, Tennessee, 1991
Get PDFMemphis Convention Center, program for Catherine The Great part of WONDERS: The Memphis International Cultural Series , Memphis, Tennessee, 1991 April 10-September 8.https://digitalcommons.memphis.edu/speccoll-mss-ewperry1/1020/thumbnail.jp
90th Bombardment Group headquarters, Biak, Indonesia
No full textAerial view of the 90th Bombardment Group headquarters on Biak island in Indonesia.https://digitalcommons.memphis.edu/speccoll-mss-90thbg1/1026/thumbnail.jp
First Lady Eleanor Roosevelt visits the 90th, 1943
No full textFirst Lady Eleanor Roosevelt visits with injured members of the 90th Bombardment Group at the 43rd General Hospital in Brisbane, Australia. Left: Capt. Andrew Welebir, right: Lt. Gorgon Richeyhttps://digitalcommons.memphis.edu/speccoll-mss-90thbg1/1023/thumbnail.jp
Untitled drinking song, c. 1940
Get PDFAn untitled drinking song sang to the tune of Tramp Tramp Tramp the Boys from a handbound journal compiled by Capt. Richard Sanderson, a flight surgeon with the 400th Squadron of the 90th Bombardment Group. The 90th was also known as the Jolly Rogers. First organized at Key Field in Mississippi in April 1942, the 90th B.G. flew out of bases in Australia and New Guinea until VJ Day and after that transported Allied prisoners from Okinawa to Manila, until November 1945, when it ceased operations.https://digitalcommons.memphis.edu/speccoll-mss-90thbg2/1006/thumbnail.jp
Robert Bogardus Snowden, Confederate Reunion, 1895
No full textPhotograph of Colonel Robert Bogardus Snowden, middle of the bottom row, at the Interstate Drill and Encampment event in Memphis, Tennessee, May 10-22, 1895. Image taken by Somers, official photographer of the event. Colonel R.B. Snowden was chosen as commandant for the encampment.
The encampment event had a sham battle and a concert by the Iowa State Band. The attendance was between 25,000 to 30,000 people on May 22, 1895, with it being the biggest crowd ever admitted to an enclosure in Memphis, Tennessee, at the time.https://digitalcommons.memphis.edu/speccoll-mss-rbsnowdenfamily2/1004/thumbnail.jp
Annie Overton Brinkley Snowden, circa 1896
No full textPhotograph of Annie Overton Brinkley Snowden (1845-1923) with her grandson, Robert Bogardus Snowden at four weeks of age, circa 1896. Annie was the wife of Colonel R. B. Snowden. The image was taken by Luy, Fotografer , 33 West 8th St., Bayonne, New Jersey.https://digitalcommons.memphis.edu/speccoll-mss-rbsnowdenfamily2/1005/thumbnail.jp
Sacred Beast
Get PDFSacred Beast is a set of three character pieces for wind ensemble. I wanted to capture a wide range of emotions with this work; most specifically, those of excitement, mystery, fury, and mourning. The end result is a raucous balance of deference and violence. I made a conscious effort to develop ideas which suit the wind ensemble’s vast timbral capabilities as well as fill the large spaces in which it would be performed. Movement I: Vulture. This is the longest movement of the piece and broadly consists of two core ideas. The first is a texture of overlapping ostinati and melodic fragments presented by the low brass. Flutes and marimba flutter above, imitating flight, while the clustering harmonic structures wax and wane in imitation of a synthesizer pad using a delay pedal. The second section is largely aleatoric, constructed of tinkering sounds and wind, with a mournful baritone saxophone melody atop. Movement II: Prophetess. This movement is by far the most reverent of the set, and also the most melodically-driven. A swirling, disorienting opening overwhelms the senses before gradually giving way to delicate clarity. Scenes melt into each other before the long introduction finally finishes and the primary material can enter. Devoted lyricism is periodically interrupted by meditative sections of pulsating clusters. Movement III: Chimera. The finale is furious, energized, and upsetting. Ideas rapidly mutate until they find a shape stable enough to stick around. True to its name, the chimera combines elements of the previous two movements, although they are generally distorted beyond easy recognition. Some bits pop in briefly while others are thoroughly transformed into foundational elements