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Ole Miss ended the year with a 16-8 overall record and narrowly missed out on their fifth consecutive trip to the NCAA Sweet Sixteen. They posted a 8-3 record in the SEC and finished among the top four in the league for the 14th time overall.
Cooper's studio albums from the beginning of the 1980s have been referred to by Cooper as his "blackout albums" because he cannot remember recording them, owing to the influence of his new, and increasing cocaine addiction. Flush the Fashion (1980), Special Forces (1981), Zipper Catches Skin (1982) and DaDa (1983) saw a gradual commercial decline, with the last two not charting within the Billboard Top 200. Flush the Fashion, produced by Roy Thomas Baker, known for his work with Queen and the Cars, had a thick, edgy new wave musical sound that baffled even longtime fans, though it still yielded the US Top 40 hit "Clones (We're All)". The track also surprisingly charted on the US Disco Top 100 chart. Special Forces featured a more aggressive but consistent new wave style, and included a new version of "Generation Landslide" from Billion Dollar Babies (1973). His tour for Special Forces marked Cooper's last time on the road for nearly five years; it was not until 1986, for Constrictor, that he toured again. 1982's Zipper Catches Skin was a more pop punk-oriented recording, containing many quirky high-energy guitar-driven songs along with his most unusual collection of subject matters for lyrics, and Patty Donahue of the Waitresses provided guest vocals and "sarcasm" on the track "I Like Girls". 1983 marked the return collaboration of producer Bob Ezrin and guitarist Dick Wagner for the haunting epic DaDa, the final studio album in his Warner Bros. contract.
In January 2008, Cooper was one of the guest singers on Avantasia's third studio album The Scarecrow, singing the seventh track "The Toy Master". In July 2008, after lengthy delays, Cooper released Along Came a Spider, his eighteenth solo studio studio album. It was Cooper's highest-charting album since 1991's Hey Stoopid, reaching No. 53 in the US and No. 31 in the UK. The album, visiting similar territory explored in 1987's Raise Your Fist and Yell, deals with the nefarious antics of a deranged serial killer named "Spider" who is on a quest to use the limbs of his victims to create a human spider. The album generally received positive reviews from music critics, though Rolling Stone magazine opined that the music on the record sorely missed Bob Ezrin's production values. The resulting Theatre of Death tour of the album (during which Cooper is executed on four separate occasions) was described in a long November 2009 article about Cooper in The Times as "epic" and featuring "enough fake blood to remake Saving Private Ryan".
Kitty King Powell Library and Study CenterThe Kitty King Powell Library and Study Center houses an outstanding non-circulating collection of books, periodical volumes, auction catalogues, and more, all available to the public for art research.Be sure to explore the William J. Hill Texas Artisans and Artists Archive to research artists who worked in 19th-century Texas.
Today, nearly 2,600 objects installed in 28 period room settings showcase the evolution of American taste from the Colonial through the Victorian eras, including furnishings, paintings, silver, ceramics, and glass. Outside, visitors stroll through surrounding woodlands and a series of gracious and beautiful gardens intended as outdoor rooms for living and entertaining, not just views to be admired from within the house. In 2010, Bayou Bend opened a visitor center designed to be a modern gateway to the historic collections and gardens. The house is just a short walk away, through a bird sanctuary and over a suspension bridge that spans Buffalo Bayou.
Welcome to Bayou Bend Collection and Gardens online. America has always been a nation of collectors. From the humblest houses to the most magnificent mansions, American homes are filled with objects that proclaim our status, our lifestyle, and our place in the world. For Miss Ima Hogg, the legendary Texas collector and philanthropist, the collecting impulse lay at the heart of America's heritage. In 1920 she began acquiring furniture and other objects that would tell the history of colonial America, and would evolve into the Bayou Bend Collection, one of the nation's foremost assemblages of American decorative arts dating from 1620 through 1870. Bayou Bend, the beautiful house with the romantic name, was designed as a private residence for Miss Hogg and her brothers, Will and Mike. Although the house was not built until 1928, the room settings faithfully re-create interiors from previous eras. Miss Hogg donated Bayou Bend to the MFAH in 1957, with the understanding that it would be converted into a house museum. Over the next decade, rooms that once served Miss Hogg's personal needs were transformed into period settings to showcase her superb collection. Although the house opened to the public in 1966, Miss Hogg continued avidly to collect for her beloved Bayou Bend until her death in 1975 at the age of 93. The objects in the Bayou Bend Collection are among the finest examples of American design and craftsmanship, but they also reflect the tastes, values, and aspirations of ordinary Americans. Today, the collection fulfills Miss Hogg's dream that "Bayou Bend may serve as a bridge to bring us closer to the heart of an American heritage which unites us." We hope you enjoy your online visit and will be inspired to visit Bayou Bend in Houston.Sincerely,Bonnie CampbellDirector, Bayou Bend Collection and Gardens
Still photography, without flash, is permitted solely for private, noncommercial use. Permission to photograph on Bayou Bend properties (and the bridge) is granted for images that are personal mementos of a visit, not for images that use Bayou Bend as a setting for commemorative photos of events not related to Bayou Bend. Photographs cannot be published, sold, reproduced, transferred, distributed, or otherwise commercially exploited in any manner whatsoever.
The Museum of Fine Arts, Houston, on behalf of Bayou Bend, reserves the right, in its sole discretion, to withhold and/or withdraw permission to photograph on its premises or to reproduce photographs of objects in its collections. Bayou Bend personnel are authorized to enforce all policies and procedures included herein.
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This seemingly simple hole will become more difficult the further the pin is cut into its elevated green. Framed by tall live oaks just off its front left corner, it becomes narrower as it extends away from the tee. Any missing long or right shots will find the sand.
This hole boasts the widest fairway on the course, which gives way to one of the narrowest approaches. A good drive sets up a downhill second to the green. Though narrow, the approach is open in the front, with a rolling collar area providing the players some room to miss left.
This is perhaps the most beautiful hole on The Ocean Course, but also one of the most treacherous. A tee shot missing this severely exposed and elevated green will leave a severe uphill chip or pitch to save par, and the putting surface is the most exposed on the entire course.
This is just a good, solid, straight up golf hole. A big landing area on a fairly short, incredibly aesthetic par-4. From the white tees, players are standing right next to the ocean. A collection area behind the green allows players a recovery for long shots. 2b1af7f3a8