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The David W. Fentress Family Letters, 1856-1969
No full textTranscript of a letter by an unidentified author to David Fentress regarding sharing federal newspapers and the banning of federal newspapers in some areas. The author passes on the news of the war including the destruction of the Federal merchantmen by the Confederate fleet. He passes along world news: Russia preparing to go to War with Europe and how that could negatively affect the Confederacy. There is also speculation on the future of the war
The David W. Fentress Family Letters, 1856-1969
No full textTranscript of a letter by an unidentified author to David Fentress regarding sharing federal newspapers and the banning of federal newspapers in some areas. The author passes on the news of the war including the destruction of the Federal merchantmen by the Confederate fleet. He passes along world news: Russia preparing to go to War with Europe and how that could negatively affect the Confederacy. There is also speculation on the future of the war
Illusion / anti-illusion: the music of Steve Reich in context, 1965-1968
No full textThis dissertation situates the work of Steve Reich during the mid-to-late 1960s in its intricate socio-cultural context. Exploring biographical, hermeneutic, aesthetic, and political implications, it attempts to shed light on the composer’s early years. The historical narrative concentrates on the period between the first instantiation of the phase-shifting technique in 'It’s Gonna Rain, or, Meet Brother Walter in Union Square after Listening to Terry Riley' (1965) and the theoretical treatise ‘Music as a Gradual Process’ (1968). It reaches back, however, to the cultural nexus of San Francisco and ahead to the mercurial gallery scene in New York. In addition, modal compositions from 1966 and 1967 are subject to detailed analyses which question the boundary between ‘impersonal’ process and composerly intervention.
Chapter 1 deals with Reich’s relationship to Process art and Minimalism(s), paying particular attention to where he presented his work and with whom he was associated. Chapter 2 traces his involvement with the San Francisco Tape Music Center, the San Francisco Mime Troupe, and the filmmaker Robert Nelson; problematic issues surrounding race and representation are also considered. Chapter 3 critiques two transitional works: 'Melodica' and 'Reed Phase', the latter representing a striking omission from the accepted Reich canon. Chapter 4 is concerned with the relationship between musical teleology and consumer desire in post-war ‘affluent society’, building on the work of Robert Fink. The conclusion proposes that broader social contradictions of the 1960s can be detected in Reich’s music
Portrait of author David Foster at the National Library of Australia, Canberra, 8 June 2011 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author David Foster at the National Library of Australia, Canberra, 8 June 2011.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Author David Foster with academic Jeff Doyle at the National Library of Australia, Canberra, 8 June 2011 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author David Foster at the National Library of Australia, Canberra, 8 June 2011.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Author David Foster and academic Jeff Doyle at the National Library of Australia, Canberra, 8 June 2011 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author David Foster at the National Library of Australia, Canberra, 8 June 2011.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
David Braithwaite at White Waltham Steam Fair
No full textDavid Braithwaite, fairground enthusiast and author photographed at White Waltham Steam Fair, August 1964
David Zimmer Christmas letter
No full textThis Christmas letter written November 30, 1999, by David Zimmer is titled "Season's Greetings from the last of the Red-Hot-Santas!" It features an illustration of Santa Claus with a guitar, and a summary of Zimmer's year.
David Zimmer (1929-2005) was born in Harrisburg, Ohio. He enlisted in the U.S. Army and served for two years during the Korean War at the Brooke Army Medical Center in San Antonio, where he performed in drag for wounded soldiers. After the war, he returned to Ohio. Zimmer performed as Dolly Divine, a name inspired by the song "Hello Dolly." In 1964, he established the Berwick Ball with Orn Huntington, another important early gay activist in Central Ohio. The Ball began as a formal Halloween costume ball that provided a safe space to gather and enjoy drag shows for the gay community each year; over the years, it grew into an annual Halloween tradition and an important fundraiser for the AIDS movement and other charities. During the 1970s, Zimmer was also known for hosting lavish parties at his Harrisburg home. In 1989, he moved to the German Village area of Columbus where he remained active in the community. During the 1990s, Zimmer continued to perform in and out of drag and commissioned costume designer Dick Frank to make elaborate outfits. Zimmer worked for Huntington National Bank for 39 years and was a member of the Harrisburg United Methodist Church, Veterans of Foreign Wars and the German Village Society
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