1 15 463 https://www.unpackingmanuels.com/files/original/1348/weird-coleslaw-vid1.PNG 942f10d89d0416418ba0440b26c7ab42 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Media These media provide substantial narrative elements related to the item. <iframe width="100%" height="400" src="https://www.youtube.com/embed/7-NjcqvZKwc?rel=0" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Weird Coleslaw - Red Brick Brewery Description An account of the resource Video produced by Tristan Benns, Jared Holewinski, Margaret Kuhn, and Ansley Henson for English 3135 Visual Rhetoric at Georgia State University. Project Description: A member of our team and a couple friends pay a visit to the local brewery! November 11, 2017.  Located at 2323 Defoor Hills Road, this is the second home to the brewery. Just like the original, and true to the name, we find this building to also be constructed from red brick! The brewery has a relaxed feel and welcoming environment. Long communal tables are set up to encourage socialization while college football games play on the walls. Amidst the televisions and company decorations, the brewery is also adorned with local artwork. The pleasant environment is further enhanced by a welcoming, knowledgeable staff. Team members are available behind the bar or out on the floor, prepared to answer any and all questions a customer could have.  *Fun fact- none of the team members had seen the “Weird Coleslaw” Ad until we showed them! Source A related resource from which the described resource is derived <a href="http://sites.gsu.edu/ahenson8/">http://sites.gsu.edu/ahenson8/</a> Date A point or period of time associated with an event in the lifecycle of the resource 2017 Creator An entity primarily responsible for making the resource Tristan Benns Jared Holewinski Margaret Kuhn Ansley Henson https://www.unpackingmanuels.com/files/original/1349/RedBrick-Analysis.pdf e4a4f6a07876fce6dca7c4efe77f11d2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Media These media provide substantial narrative elements related to the item. <iframe width="100%" height="500" src="http://unpackingmanuels.com/files/original/1349/RedBrick-Analysis.pdf"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Weird Coleslaw - Visual Analysis Description An account of the resource Presentation produced by Tristan Benns, Jared Holewinski, Margaret Kuhn, and Ansley Henson for English 3135 Visual Rhetoric at Georgia State University. Project Description: We’ve put on our visual rhetoric thinking caps and dug a little deeper into the ad! Source A related resource from which the described resource is derived <a href="http://sites.gsu.edu/ahenson8/2017/11/21/a-presentation-on-weird-coleslaw/">http://sites.gsu.edu/ahenson8/2017/11/21/a-presentation-on-weird-coleslaw/</a> Date A point or period of time associated with an event in the lifecycle of the resource 2017 Creator An entity primarily responsible for making the resource Ansley Henson Tristan Benns Jared Holewinski Margaret Kuhn https://www.unpackingmanuels.com/files/original/1347/dukes-essay-1.png d08b59467a30d8d759dc668d1d8641a0 https://www.unpackingmanuels.com/files/original/1347/dukes-essay-2.png 7abb39c71c712e53ea23b5ec8faff099 https://www.unpackingmanuels.com/files/original/1347/dukes-essay-3.png 03fdfbad7d368f3eebcd8266173f60a9 https://www.unpackingmanuels.com/files/original/1347/BeerPrices-Essay.pdf aa707b886478bb5591dc31904c16c45c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text Manuel’s Tavern has an unlimited source of creativity from photos to portraits and some ceramic demonstrations. Our group had the pleasure of analyzing one of the portraits, “Beer Prices Going Up” created by Clifford Baldowski. The photo depicts two men in great despair because they are no longer able to purchase alcohol. Baldowski also leaves a personal comment on the photo thanking Manuel Maloof for his work during his time as DeKalb County’s chairman and commissioner. In alignment with Maloof and Baldowski’s political background, I believe the photo speaks to Baldowski’s appreciation for Maloof’s ability to promote inclusion in the community of DeKalb county. <img src="http://unpackingmanuels.com/files/original/1347/dukes-essay-1.png" style="width: 80%;" /> Clifford Baldowski worked for the Atlanta Journal Constitution as an editorial cartoonist. Through his definitive portraits, he was able to bring light to the political injustices surrounding our communities such as school desegregation, nuclear anxiety and social unrest. From 1950 to his retirement in 1982, Baldowski was able to emit opinions on political subjects that created controversy, but introduced new perspectives on behalf of those who had no voice. During this time, Maloof took office in 1974 as DeKalb commissioner. Maloof was able to change DeKalb’s Republican suburb to an urbanized population through his push towards the completion of I-85 and I-285, what we know today as “Spaghetti Junction.” <img src="http://unpackingmanuels.com/files/original/1347/dukes-essay-2.png" style="width: 80%;" /> In viewing these facts, Baldowski and Maloof had similar views on permitting all voices to be heard. Maloof was in a position to make significant changes in the community which benefitted all ethnicities and races. Baldowski was able to watch these changes from the standpoint of a writer and a citizen. When viewing the “Beer Prices Going Up” photo, there are a group of women displaying a protest (to the left of the men yearning for alcohol). Being that Baldowski is a political cartoonist, I thought Baldowski was pointing to the prohibition of alcohol and the women’s suffrage movement, which both took place during Baldowksi’s and Maloof’s career. However, Baldowski’s leaves a comment on the photo that implies an inclusion of all arguments. The comment states, “To my friend, Manuel Maloof, one of those rare perspective guys who actually gives a damn <img src="http://unpackingmanuels.com/files/original/1347/dukes-essay-3.png" style="width: 80%;" /> This comment led my group to believe that Maloof and Baldowski had a personal relationship, but we couldn’t find any evidence; maybe they didn’t have to. This comment implies that Baldowski admired Maloof’s work in the community and gave him this portrait as a sign of appreciation. Whether the photo addresses the women’s suffrage movement or the prohibition of alcohol, it really doesn’t matter. What matters is that every opinion and view point is included into the overall forming of rules in our society. This photo was a tribute to Maloof’s ability to remain equal when making decisions regarding the citizens of DeKalb county. Works Cited <ul> <li>Hackbart-Dean, Pam. “Clifford “Baldy” Baldowski (1917-1999).” New Georgia Encyclopedia, Southern Illinois University, 20 November 2002. <a href="http://www.georgiaencyclopedia.org/articles/arts-culture/clifford-baldy-baldowski-1917-1999">georgiaencyclopedia.org/articles/arts-culture/clifford-baldy-baldowski-1917-1999</a>.</li> <li>Thomas, Charlene, and Theus Nail. “Manuel J. Maloof’s Obituary on Atlanta Journal-Constitution.” Atlanta Journal-Constitution. <a href="http://www.legacy.com/obituaries/atlanta/obituary.aspx?pid=2494980" rel="nofollow">http://www.legacy.com/obituaries/atlanta/obituary.aspx?pid=249498</a></li> </ul> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource “Beer Prices Going Up” Essay Description An account of the resource An essay about a cartoon on the wall of Manuel's Tavern written by Daniel Dukes for English 3135 Visual Rhetoric at Georgia State University. Creator An entity primarily responsible for making the resource Daniel Dukes Source A related resource from which the described resource is derived <a href="https://3135baldybeerprices.wordpress.com/photoessay/">https://3135baldybeerprices.wordpress.com/photoessay/</a> Date A point or period of time associated with an event in the lifecycle of the resource 2017 https://www.unpackingmanuels.com/files/original/8/1238/Bud-Foote-Plaque-Edits-1.jpg 9975e4fa1b541e590f53220b201439fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text <h1>Unpacking Materiality</h1> by <a href="http://academics.danieltlamb.net/blog/" target="_blank">Daniel Lamb</a> <iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/333568034&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true"></iframe> In a venue like Manuel’s Tavern, a place full of people at any given hour of the day, there is a bustle to the space and a transience that permeates the atmosphere. At the same time, the objects that fill the building serve to offer this kind of a grounding effect, connecting the past and the present, indicating a liminality where two meet. The artifact in question,the memorial plaque of <a href="https://www.google.com/#safe=off&q=bud+foote+atlanta" target="_blank">Bud Foote</a> brings up a potent intersectional issue. Foote was a well-loved husband and father, as well as an influential English professor at Georgia Tech. He also co-founded the Atlanta Folk Music Society, and held a deep scholarly interest in science fiction. <a href="https://smartech.gatech.edu/bitstream/handle/1853/5963/mar28.pdf?sequence=1&isAllowed=y"><img src="http://unpackingmateriality.danieltlamb.net/education/unpacking-materiality/media/bud%20foote%20via%20ga%20tech.png" width="80%" /></a> Professor Bud Foote; image via Georgia Tech According to his daughter Anna, Bud Foote enjoyed intellectual conversations, and Manuel was the kind of man who engaged with him on a level that kept him interested. She noted he would often enjoy a Sunday afternoon of reading, accompanied by beer and smoking his pipe at the bar, under the reading lamp which hangs midway down the bar. It was also a place where Bud and his wife Ruth Anne could bring their children in for some food and a few rounds of pinball. Their children were delighted when Manuel installed the “Eagle’s Nest” as the place for all of the games. Manuel never thought of his establishment as a “bar.” He would correct people—it’s a “tavern.” It is common lore at Manuel’s that Maloof wanted his bar to reflect the warm atmosphere of British taverns he had experienced during his service during WWII. In his description of London’s taverns from Inns, Ales, and Drinking Customs of Old England, Frederick Hackwood offers a series of insights: <blockquote> “The tavern life of old London opens a large field for the study of our national manners and customs; ore than mere places of sojourn for travellers and traders, they became the rendezvous of politicians and publicists, the recognised meeting-places for much social intercourse, and especially for that pleasant form of sociability which is accompanied by friendly entertainment. How useful they were in the days when travelling was difficult and newspapers scarce, and all means of intercommunication were correspondingly slow, is indicated by the extraordinary number of taverns with which the main thoroughfares of old London were lined. (Hackwood 178-9). </blockquote> Manuel’s embodies this kind of community space that privileges conversation above all else. Absent from the floor is any kind of jukebox or roster of bands playing: Manuel wanted to preserve the space as a place for conversation and social engagement, rather than promote the Tavern as a venue or place for other entertainment. <blockquote> “How much taverns were frequented by the literati in the early part of the eighteenth century, the Spectator and the Tatler, and other British essayists, bear abundant evidence; and there is little doubt but many of these papers were produced at a tavern, or originated at the ‘wit combats’ that frequently took place within the walls of such” (177). </blockquote> Foote would probably have appreciated this current moment in Atlanta’s literary scene; Manuel’s has become a haven for groups meeting after local literary events such as Write Club, which model the spirit of “wit combats” that Hackwood mentions. The artifacts which memorialize the deceased to the living have the potential ‘layered or multiple readings…encoded in memory spaces’ (Maddrell 503). That is to say, relationships, time, proximity, and awareness come to bear on the artifacts’ function on different people. Jane Bennett would agree, in that objects and human agencies overlap creating a concomitant agency of person and material artifact. In “Powers of the Hoard: Artistry and Agency in a World of Vibrant Matter,” Jane Bennett is a proponent of the idea that there is this simultaneity of agency located within human and non-human actants (vibrant bodies), considering language as rhetoric—word sounds— tuning the human body, rendering it more susceptible to the frequency of material agencies inside and around us; for her, the goal is to use words to make whatever communications already at work between vibrant bodies more audible, detectable, and sensible. Her analogy supporting non-human agency comes as this embodied concept of the human body itself as a site of multiple agencies, considering micro biomes, elements, metabolized foods, sounds and odors, and prosthetic technologies. She invokes Spinoza’s idea that every body comes with a drive to seek alliances with other bodies that seek to enhance vitalities. She suggests a symbiosis that is embodied as these overlapping agencies between the human and object. In “Living with the Deceased: Absence, Presence, and Absence-Presence,” Avril Maddrell discusses the way grief and space interact. Maddrell offers: <blockquote> “Practices associated with absence-presence intersect with growing trends to mark private grief and remembrance of individuals in public space, through the creation of a range of informal memorials that frame a ‘Third Emotional Space’ for the bereaved. The material memorialscape [sic] is indicative of the interwoven narrative journeys in and through particular place-temporalities for the living, for whom bereavement is a confluence of emotional-spiritual-practical way-finding (Maddrell 501). </blockquote> Again, Maddrell highlights the way in which memorials function as third space: <blockquote> [memorials] offered a ‘Third Emotional Space’ for embodied-emotional and performative remembrance, mediating between absence and presence and other related dichotomies. Thus, there is no single static reading of memorials, but practice needs to be considered in conjunction with location and form. I argue that in triangulating context, text, material form and embodied-emotional practices around such memorials, it is possible to gain insight to the dynamic negotiation of absence and presence in relation to the dead (Maddrell 504). </blockquote> Specifically, Manuel’s functions simultaneously as a temporal and spiritual space—as a memorial site and space for grieving and also as a site for everyday activities like community planning meetings, business luncheons, and happy hour. Campbell also points out, in discussing roadside memorials, the effect of interaction between the person and space: <blockquote> “[A] public sphere does not emerge from a particular configuration of the component properties of roadside memorials, but…their ‘capacities for interaction’…. [a]re always-already immanent in the sites, technologies and modalities of contemporary memorial display, and in the words, deeds and voices which they may incite (Campbell 532). </blockquote> Here, it is easy to locate Manuel’s as a site of interaction between person and artifact, but it is also important to note the way the artifacts inform the human agents and vice versa. The space fosters a kind of synergy. In terms of the connection beyond the immediate, Campbell notes that “[memorials] provide a place for the bereaved to communicate not only with the deceased, but also with the outside world (Klaassens, Groote and Huigen 2009: 187) (quoted in Campbell 531). My own experience as an employee confirms these notions of conversation, interaction, and memorialization. Often, the objects emanate their own power, their own mood. Patrons almost always had remarks about the objects—especially the urns and plaques. People would often say, “I want my name on the bar. How do you get a plaque?” I would respond, “First, you’ll have to die.” Generally, employees of the Tavern decide to memorialize regular customers and have the plaques engraved and mounted. Sometimes, the process is a collaboration between a patron’s family and the people of Manuel’s. <a href="http://academics.danieltlamb.net/blog/wp-content/uploads/2016/04/Bud-Foote-Plaque-Edits-1.jpg"><img class="alignnone size-medium wp-image-271" style="display: block; margin-left: auto; margin-right: auto;" src="http://academics.danieltlamb.net/blog/wp-content/uploads/2016/04/Bud-Foote-Plaque-Edits-1-300x177.jpg" alt="Bud Foote Plaque Edits 1" width="300" height="177" /></a> Again, the words of Hackwood resound: <blockquote> “A tavern (says an old writer), ‘is a common consumption of the afternoon and the murderer or making away of a rainy day. To give you the total reckoning of it, it is the busy man’s recreation, the idle man’s business, the melancholy man’s sanctuary, the stranger’s welcome, the scholar’s kindness, and the citizen’s country. It is the study of sparkling wits, and a cup of canary their book’” (Hackwood 172). </blockquote> Here’s a video housed at the Georgia Tech video archive, an oral history interview with Foote himself: <video id="html5-media-1" width="480" height="270" style="display: block; margin-left: auto; margin-right: auto;" src="http://history.library.gatech.edu/files/original/httpwwwlibrarygatecheduget_archiveslh0085_670fd7561e.mp4" controls="controls"><object id="html5-media-1" style="display: block; margin-left: auto; margin-right: auto;" width="480" height="270" classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"><param name="src" value="http://unpackingmanuels.com/application/views/scripts/javascripts/vendor/tiny_mce/plugins/media/moxieplayer.swf" /><param name="flashvars" value="url=http%3A//history.library.gatech.edu/files/original/httpwwwlibrarygatecheduget_archiveslh0085_670fd7561e.mp4&poster=/admin/items/edit/" /><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="true" /><embed id="html5-media-1" style="display: block; margin-left: auto; margin-right: auto;" width="480" height="270" type="application/x-shockwave-flash" src="http://unpackingmanuels.com/application/views/scripts/javascripts/vendor/tiny_mce/plugins/media/moxieplayer.swf" flashvars="url=http%3A//history.library.gatech.edu/files/original/httpwwwlibrarygatecheduget_archiveslh0085_670fd7561e.mp4&poster=/admin/items/edit/" allowfullscreen="true" allowscriptaccess="true" /></object> </video>   Bud and his wife Ruth Anne interviewed Manuel back in 1970 for The Great Speckled Bird: <iframe style="width: 100%; height: 600px; left: 0px; top: 0px; display: block; margin-left: auto; margin-right: auto;" width="320" height="240" title="Embedded Document" src="//docs.google.com/viewer?url=http%3A%2F%2Facademics.danieltlamb.net%2Fblog%2Fwp-content%2Fuploads%2F2016%2F04%2Ffrom-the-Great-Speckled-Bird.pdf&embedded=true&hl=en"></iframe> Works Cited Bennett, Jane. “Powers of the Hoard: Artistry and Agency in a World of Vibrant Matter,” https://www.youtube.com/watch?v=q607Ni23QjA Campbell, Elaine. Public Sphere as Assemblage: The Cultural Politics of Roadside Memorialization. British Journal of Sociology. 2013. Vol. 64 No. 3. Hackwood, Frederick. Inns, Ales, and Drinking Customs of Old England. Bracken Books: London. 1985. Print. Maddrell, Avril. Living with the Deceased: Absence, Presence, and Absence-Presence. Cultural Geographies. Vol.20 No.4. 2013. Print. Pp.501-522. Woodthorpe, Kate. “Private Grief in Public Spaces: Interpreting Memorialisation in the Contemporary Cemetary.” Hockey, Jenny, Komaromy, Carol, and Woodthorpe, Kate, eds. Matter of Death : Space, Place and Materiality. Basingstoke, Hampshire, GBR: Palgrave Macmillan, 2010. ProQuest ebrary. Web. 11 April 2016. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essay: Unpacking Materiality Creator An entity primarily responsible for making the resource Daniel Lamb Date A point or period of time associated with an event in the lifecycle of the resource 2016-04-10 Description An account of the resource Student Project from <a href="http://teachingatlanta.org/project/robin-wharton/">Robin Wharton's</a> Rhetoric and Composition <a href="http://embodimentemergencerhetoric.robinwharton.net/syllabus-course-info/#Capstone">Senior Seminar class</a>. See the original project <a href="http://unpackingmateriality.danieltlamb.net/education/unpacking-materiality/project-content-1">here</a>. Memorial https://www.unpackingmanuels.com/files/original/8/1234/whenfriends-1.png 72d44e3559811f3cd7f7a0cf5b93bab6 https://www.unpackingmanuels.com/files/original/8/1234/whenfriends-2.png 8cf363df49b616e36c3a8faa40b736fb https://www.unpackingmanuels.com/files/original/8/1234/whenfriends-3.png 4de62c3e41bdfa7f0fd02de39533623c https://www.unpackingmanuels.com/files/original/8/1234/whenfriends-4.png 4f4eae657ec0a3a924ecac265161ebda https://www.unpackingmanuels.com/files/original/8/1234/WhenGentlemenAgree-Budweiser-Sperling.pdf deb520963b99b04327052fd6165161c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text <div style="text-align: center;"><img src="http://unpackingmanuels.com/files/original/8/1234/whenfriends-1.png" text-align="center" width="300" /></div> This poster is a sign created by the Anheuser-Busch Company to market Budweiser. Anheuser-Busch produces many different types, their most popular of which is Budweiser. The Anheuser-Busch Company has a market share in the United States and a 2008 study found that nearly 51% of the beers consumed in the US are produced by the Anheuser-Busch Company, most of which were Budweiser or Bud Light. <div style="text-align: center;"><img src="http://unpackingmanuels.com/files/original/8/1234/whenfriends-2.png" width="300" /></div> Budweiser is brewed using barley, malt, rice, water, hops, and yeast. It is then lagered with beechwood chips, which are usually credited for the beer’s unique taste. Despite Belgian—Brazilian beer giant, Inbev, buying out the majority of Anheuser-Busch in 2008, the company still strongly markets its American ties. The company’s origins reflect that of an American dream story. In 1857 Adolphus Busch left his home in Germany and immigrated to the United States. He eventually made his way to St. Louis, Missouri where he started a brewing company. This company eventually transformed into the largest brewing company in the United States and, after the merger with Inbev, the largest in the world. Anheuser-Busch markets Budweiser as the “Great American Lager” and their sponsorships reflect that patriotic image. Budweiser has established itself as one of the most recognizable brands in America. Budweiser remains the official beer of America’s pastime, Major League Baseball. Budweiser advertisements are everywhere from NASCAR races to the FIFA World Cup. After the end of Super Bowl 50, the championship game for the National Football League, starting quarterback, Peyton Manning, said he was going to celebrate by “drink[ing] a lot of Budweiser tonight.” Budweiser is established as a fundamental American Company and it markets itself accordingly. <figure style="text-align: center;"><img src="http://unpackingmanuels.com/files/original/8/1234/whenfriends-3.png" width="300" /> <figcaption>The Budweiser sign at historic Fenway Park in Boston, MA</figcaption></figure> This sign was originally created by the Anheuser-Busch Company in 1956 and then was reproduced throughout the 70’s. It is unclear who created the artwork for the sign, but the sign was well circulated throughout the United States. The year the piece was produced, 1956, was a presidential election year in the US. The Republican Party stood behind popular incumbent, Dwight D. Eisenhower, who faced off with former Illinois governor, Adlai Stevenson. The election was a rematch of the election that had taken place four years earlier in 1952. In the advertisement, an elephant and a donkey represent the Republican and Democratic Parties respectively. The two symbols of their parties can be seen clashing their beer mugs together while smiling and seemingly enjoying each other’s company. Especially during an election year when partisan relationships can get extremely tense, Republicans and Democrats rarely exchange in friendly discourse. Budweiser suggests that the two parties can unite over something universally appreciated, like a Budweiser beer. <div style="text-align: center;"><img src="http://unpackingmanuels.com/files/original/8/1234/whenfriends-4.png" width="300" /></div> Budweiser originally introduced the slogan “when gentlemen agree” after prohibition ended in the 1930’s. Budweiser waited to release advertisements until after all other beer companies had produced their ads saying that they were selling beer again. Budweiser then strategically swept the nation with the same advertisement in every major newspaper and publication on the same day. The slogan accompanied with this advertisement was “when gentlemen agree.” The ad featured all of the “good things” in life and suggested that the beer was not simply a beverage, but a lifestyle.   Sources: St. Louis Business Journal article The Advertising Age Encyclopedia of Advertising by John McDonough and Karen Egolf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essay: When Gentlemen Agree... Budweiser Creator An entity primarily responsible for making the resource Daniel Sperling Date A point or period of time associated with an event in the lifecycle of the resource 2017-1-17 https://www.unpackingmanuels.com/files/original/1236/march-of-dimes-1.png bb20c40d9ea2c64481158a8c61712cb7 https://www.unpackingmanuels.com/files/original/1236/March-of-Dimes-Golden.pdf 4a565eeeaab827205bc97ba6d575d41b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text <div style="text-align: center;"><img src="http://unpackingmanuels.com/files/original/1236/march-of-dimes-1.png" max-width="300" max-height="300" width="50%" /></div> On yellowed paper, in a bronzed frame: a letter from Bill Campbell, mayor, to Mr. Manuel J Maloof, proprietor of the ﬁne establishment on whose wall it hangs. On official stationery, complete with governmental seal, Campbell is graciously thanking Maloof for raising $5,000 for the March of Dimes through an auction held in his tavern. That a mayor would be so closely involved with a tavern seems odd, but Manuel’s Tavern is not of the usual kind. It is the sort of place where Jimmy Carter announced his bid for governor, where three Atlanta mayors stopped by to talk to their constituents, where cops and public intellectuals would mixed and enlightened each other. Why, one may ask, did Manuel’s attract such a diverse and star-studded power? The answer is simple, Mr. Manuel J Maloof himself, former Chief Executive Officer (CEO) of Dekalb County and the “Godfather of Dekalb Democrats" who changed Dekalb from safely Republican to a major stronghold of Democratic politics in the Atlanta area. They were there for him and when that failed, beer. Hence the Democratic Mayor of Atlanta’s signature proudly displayed on the walls of Manuel's Tavern, which are a history book unto themselves. Campbell was in only the second year of mayoralty and was viewed positively, however a heavily contested primary and the failure of his many policies over the next seven years would lead to deep satisfaction with Campbell. For now, however, Campbell would be talking about a major revitalization project, the Atlanta Empowerment Zone, which sought to use $250 million in federal money to help Atlanta’s 34 poorest neighborhoods over the ten year period from 1994 to 2004. Ultimately, it would fail and Campbell’s interference as mayor was cited as factor in reports by the both Federal, Housing and Urban Development, and state, Georgia Department of Community Affairs, governments. It later came out that Campbell’s administration was characterized by corruption, his and others, which he continued once he was out office earning a conviction for tax evasion in 2004. The March of Dimes is itself a Democratic establishment, founded by one of the great Democratic presidents of all time, Franklin Delano Roosevelt, as The National Foundation for Infantile Paralysis (NFIP) in 1938 to fight polio, the cause of his paralysis. The name March of Dimes comes from Eddie Cantor, a famous actor in the 1930’s, who encouraged citizens to send 10c a piece the White House as a donation to the Foundation. This was so successful that over $85,000 was collected and The March of Dimes went on to name their annual Christmas fundraiser, in which they setup booths in major American cities for each child could donate his or her dime to the. Eventually, The March of Dimes eclipsed the NFIP and it was officially renamed in 1976. Of course, by that time Polio had been eliminated and the March had expanded its efforts to helping prevent birth defects in general and had great success fighting Rubella and preventing premature births. This letter, while seemingly inconspicuous, is a link to the lengthy association of Manuel‘s with Democratic politics in the state of Georgia from County CEO’s to future presidents and even to corrupt mayors. It points to Manuel’s tavern status as political establishment as much as local watering hole and perhaps more interesting for our view of it, a living history book each wall a page and each item worth studying and digging deep within to find connections to Atlanta. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essay: March of Dimes Creator An entity primarily responsible for making the resource David Golden Date A point or period of time associated with an event in the lifecycle of the resource 2016 https://www.unpackingmanuels.com/files/original/1350/Dawsons-SituationalContext.png 455210a6dda476c36eb0cf57eb346c19 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Media These media provide substantial narrative elements related to the item. <img src="http://unpackingmanuels.com/files/original/1350/Dawsons-SituationalContext.png" width="100%" /> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dawson's Ale Tin Charger Obituary Description An account of the resource A creative interpretive work by Elise Moormann, produced for English 3135 Visual Rhetoric at Georgia State University. Works consulted:  <ul> <li><a href="http://breweriana.com/signs/dawsons-ale-lager-tin-charger-19810/">$500 “Tin Charger”</a></li> <li><a href="https://www.ebay.com/itm/Dawsons-Ale-and-Lager-12-Beer-Tray-The-Royal-Brew-Youll-be-Loyal-to-/322262373493">$50 “Beer Tray”</a></li> <li><a href="http://www.whalingcity.net/picture_dawson_brewery.html">“Whaling City” Historical Context</a></li> <li><a href="http://www.southcoasttoday.com/article/19961010/news/310109996">Reviving Dawson’s (1996)</a></li> <li><a href="http://www.taverntrove.com/brewery.php?BreweryId=333">Brief Timeline</a></li> </ul> Creator An entity primarily responsible for making the resource Elise Moormann Source A related resource from which the described resource is derived <a href="http://sites.gsu.edu/unpackingdawsons/situational-context/">http://sites.gsu.edu/unpackingdawsons/situational-context/</a> Date A point or period of time associated with an event in the lifecycle of the resource 2017 https://www.unpackingmanuels.com/files/original/3/0105161/0105161_Drawing.png 3026ae38a64469f46f1a9c06135e0fa6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Main Dining Description An account of the resource The Main Dining room has four gigapans: the North Wall (Left and Right Sides), the South Wall, and the Southeast Wall. Wall Object Objects presented on a wall Room Room in which the object is located Main Dining Wall Wall on which the object is displayed South Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 0105161 Drawing Description An account of the resource Drawing of central Main Bar of Manuel's Tavern. Signed J. Adams. Type The nature or genre of the resource Drawing Identifier An unambiguous reference to the resource within a given context 0105161 Creator An entity primarily responsible for making the resource J. Adams https://www.unpackingmanuels.com/files/original/1353/FalconsNFCPennant.pdf 752814f3a0405ec5a425dea8b097d15c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text This pennant celebrates the 1998 NFC Champion Atlanta Falcons. In the 1998 season, the Atlanta Falcons reached their first Super Bowl behind QB Chris Chandler. They knocked off the #1 seeded Minnesota Vikings in an overtime win in which Minnesota kicker Gary Anderson missed his first field goal of the season. This allowed Atlanta to take the win with a game-winning kick in overtime. Morten Anderson, the Falcons then-kicker, went on to become an NFL Hall of Fame-r and is now the only Hall of Fame inductee on the 1998 Atlanta Falcons team. The Falcons won this game despite the Vikings being 11-point favorites coming into it and the Vikings having only lost one game during that year’s regular season and became the only 15-1 team in NFL history not to win the Super Bowl. This win was a great moment for Falcons fans as the franchise had previously been dubbed “snakebitten” by many sports critics and analysts. Bleacher Report contributor Dan Weiner recalls “For most of the franchise's history, Atlanta was the whipping boy of the 49ers in the old, and geographically [challenged], NFC West.” Weiner even entitled that article “The 1998 Atlanta Falcons: The Team That Proved Anything is Possible”. This changed after the Falcons 1998 victory, however. The Falcons won the game 30-27 in overtime and the Dirty Bird fever spread across Atlanta. Despite reaching the Super Bowl, the Falcons did not take home the championship. The Falcons went on to lose 34-19 two weeks later. Despite this, the Falcons 1998 season is still remembered as only one of the franchises two Super Bowl appearances. Author Bio I’m Jacob Tranter and I am currently a poli-sci major at Georgia State University. I plan to study abroad for Fall 2018, in perhaps France or Italy, and join some clubs next semester. After I graduate, I plan to further my education by going to law school to study a currently undecided type of law. I’m from Newnan, Georgia but originally hail from Oxford, England. <img src="http://sandbox.unpackingmanuels.com/files/GSU1010bios/tranter.jpg" style="width: 200px;" /> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essay: Atlanta Falcons Pennant Creator An entity primarily responsible for making the resource Jacob Tranter Date A point or period of time associated with an event in the lifecycle of the resource 2017 Identifier An unambiguous reference to the resource within a given context 0201009-E Description An account of the resource This essay was written for a GSU 1010 class in Fall 2017 taught by George Greenidge. <a href="http://unpackingmanuels.com/items/show/1355">View original item metadata</a> https://www.unpackingmanuels.com/files/original/1162/0401031_james_mackay_signed_photo.png df75e5bbfdab30795544e72d323c34ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Level 2 Description An account of the resource Level Two has two gigapans: the North Wall (which was removable for big events) and the Northwest Wall. Wall Object Objects presented on a wall Room Room in which the object is located L2 Wall Wall on which the object is displayed Northwest Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 0401031 Type The nature or genre of the resource photograph Description An account of the resource Photograph of local politician <a href="https://en.wikipedia.org/wiki/James_MacKay_(American_politician)">James MacKay</a> looking over city. Inscribed "For Manuel." Title A name given to the resource 0401031 Photograph of James Mackay Creator An entity primarily responsible for making the resource James Mackay level2nw politics https://www.unpackingmanuels.com/files/original/1354/Evel-Knievel.pdf 9dfcc27117a0d335613c4b22e7c7e3fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text Evel Knievel, originally named Robert Craig Knievel, was born in Butte, Montana on October 17, 1938. He is remembered for doing death-defying stunts. He started out doing his stunts at local fairs, then later expanded to doing shows at stadiums. His shows would almost always sell out. His most famous stunt was jumping from ramp to ramp on a motorcycle. His first jump was in 1966 in California. From then on, he attempted over 75 more motorcycle jumps. He was also known for his canyon jumping. He would use a steam powered rocket to cross canyons. He jumped over cars, busses, and a lot of his stunts were considered some of the greatest sporting events of all time. He also holds the Guinness Book of Records title of most bones broken in a lifetime (433 to be exact). <img src="http://unpackingmanuels.com/files/original/547b3011d112ffc3c53299c78d8e21ad.png" width="150px" style="display: block; margin-left: auto; margin-right: auto;" /> As a child, Evel lived without rules. When he was eight years old, he went to daredevil motorcycle show and that is when his love for stunting began. He ended up being a high school dropout and joined the army for s little while. He came home to marry Linda Bork and they had five children. He participated in rodeos, ski jumping events, and hockey seeking to fulfill his drive for thrill. Evel really wanted to jump the Grand Canyon but the United States government would not allow it. He fought a long legal battle with the United States but eventually still lost. In 2007 in Clearwater, Florida, Evel Knievel died at the age of 69 due to failing health from diabetes and idiopathic pulmonary fibrosis. Author Bio Kyra Urquhart-Foster is a biology major at Georgia State University. She aspires to be a Physician Assistant after graduate school. She is from Suwanee, Georgia and enjoys playing volleyball, cooking with friends, and exploring all that Atlanta has to offer. <img src="http://sandbox.unpackingmanuels.com/files/GSU1010bios/urquhart-foster.jpg" style="width: 200px;" /> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essay: Evel Knievel Description An account of the resource This essay was written for a GSU 1010 class in Fall 2017 taught by George Greenidge. <a href="http://unpackingmanuels.com/items/show/1144">View original item metadata</a> Creator An entity primarily responsible for making the resource Kyra Urquhart-Foster Date A point or period of time associated with an event in the lifecycle of the resource December 8, 2017 Identifier An unambiguous reference to the resource within a given context 0401013-E https://www.unpackingmanuels.com/files/original/1340/13177936_10154259320361542_5595957562024018311_n_[1].jpg 7ac5ba872d5c8b0bcf7bc3151f0d21a5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text Thank you for understanding the special place Manuel's holds in a lot of our hearts. Manuel was present at all of my fundraisers and events except for my race for U.S. Congress (he had passed two years before the race). I was honored when one of his sons placed my bumper sticker on the office door, along with other mid-1990's artifacts (Atlanta 1996 Olympics, Gov. Zell Miller stickers, etc.). When I heard they were "changing" Manuel's I tried to buy the whole door! Manuel's son assured me that the door was safe, and would be included in the renovation. Manuel's was the kind of place you could let your hair down a bit. I developed long friendships with many of the press corps there, which made understanding my work in the legislature easier for them, I think. It also emboldened me, knowing that they were there to expose any abuses of the process (or of young legislators) by the powers that were. I occasionally come through Atlanta, and I try to make it on Tuesday evenings so that I can gather with the old crowd, or what is left of them. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource McCracken Poston reflects on his history with Manuel's Tavern and its impact on his political and social spheres Title A name given to the resource McCracken Poston Reflects on Manuel's Creator An entity primarily responsible for making the resource McCracken Poston Contributor An entity responsible for making contributions to the resource McCracken Poston politics https://www.unpackingmanuels.com/files/original/1232/Great_Flying_Corn-Cobs_Batman_The_Computational_Loom.pdf dca5b889c209ef0aa66d4f4a8ec5a234 https://www.unpackingmanuels.com/files/original/1232/obs_20111021-1iqeo9r.png 4d85dd6dfd1ac4f8e47986bc2f7a6efb https://www.unpackingmanuels.com/files/original/1232/corn2-y0jczk.png f97932d88d3ffbc5910e0d4f4fa2f6de https://www.unpackingmanuels.com/files/original/1232/s-l640-pmioge.jpg bbfe7b2156678b31619779bb07753011 https://www.unpackingmanuels.com/files/original/1232/mMh4Rroe7DnXk1f71l2rROQ-p30n4i.jpg 9347cc01f5da872e331a568f993a8b27 https://www.unpackingmanuels.com/files/original/1232/4931a-p9sox9.jpg d2ca6738560599e72de52f84f8e7c0ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text <img src="http://unpackingmanuels.com/files/original/1232/obs_20111021-1iqeo9r.png" alt="dekalbcorn" style="float: left;" width="307" height="173" />So, the topic of this month’s post comes to be because of half joking comment I made in passing to a friend a few weeks ago. We had been discussing regional pronunciation, and I pointed out the best way to start a fight between an Atlantan, a New Yorker, and a Chicagoan was to bring up the word “Dekalb” and let them pronounce it. I grew up right on the border between <a href="https://en.wikipedia.org/wiki/DeKalb_County,_Georgia">Dekalb</a> and Fulton counties here in Georgia, and so I had always heard the name said, as we do here in Atlanta, as “Dee-KAB”. However, my father, having spent many summers in <a href="https://en.wikipedia.org/wiki/DeKalb_Avenue">Brooklyn</a> as a kid, occasionally would say it as “Deh-KAhl-Lb ” when he first moved to Atlanta in the mid 1970s. Yet apparently a third flavor of this word exists, with “Dee-KAH-lb” as the <a href="https://en.wikipedia.org/wiki/DeKalb_County,_Illinois">defacto pronunciation</a> in the already phonetically challenging state of Illinois. This round of phonemic insanity is brought full circle by a strange sight displayed proudly on one wall of Manuel’s Tavern, a stylized winged ear of corn bearing the word “DEKALB”. I remember having seen this particular sign nearly every time I have been inside Manuel’s over the years, and while I found it odd, I never really thought much about it. I assumed, quite incorrectly, that it was the logo of some local sports team with a silly mascot, or the icon of some equally silly but venerable institution out of neighborhood history. After all, I live in a city that has spawned the <a href="http://seedandfeed.org/">Seed and Feed Marching Abominable</a> and the <a href="https://www.choa.org/donors-and-volunteers/foundation-events/briefcase-brigade">Briefcase Brigade</a>, so a flying “DeCOB” of corn seemed to make just about as much sense as anything else around here. How wrong I was! It turns out that this angel of the granary originates with the company now known as DeKalb Genetics Corporation (and owned by Monsanto), previously DeKalb Agricultural Association and DEKALB AgResearch, right out of that other hotbed of pronunciation oddity, Dekalb, Illinois. The logo originated when Tom Roberts, Sr. wanted a symbol to identify the new hybrid corn that DeKalb Ag was marketing in the mid 1930s. So, inspired by the winged Mobile Oil Horse (once a part of the Socony-Vacuum Oil Company, one of the resulting companies from the breakup of Standard Oil in 1911) which had just recently been introduced, Ken Kramer and a local sign artist came up with a winged ear of corn. The first signs were expensive, and printed onto metal sheets, then die-cut and given to farmers who grew the corn. Later, the logo was refined by graphics designer and printer Arlie Pearce, and then silk screened in three colors (green, yellow, and black) onto masonite sheets cut into the shape of the soaring seedpod. Eventually, a fourth color (red) was added, to make the logo pop even more. With thousands made over the decades, a vast collectors’ market in these signs has sprung up nearly from their first use, and the sign is even featured in the <a href="http://americanhistory.si.edu/collections/search/object/nmah_1460060">National Museum of American History.</a> <img src="http://unpackingmanuels.com/files/original/1232/corn2-y0jczk.png" alt="corn2" style="float: right;" width="409" height="394" />We can date this sign quite readily, by comparing it to a few other examples, including the museum specimen above. The Manuel’s flying corn is, unlike the NMoAH sign, a rightwards facing white outlined corn ear. There are four visible nail holes in the sign, and it bears a few obvious scratches and dings. The Manuel’s sign is also older than the NMoAH sign – instead of the DC it clearly shows AP, marking it as having been produced under Arlie Pierce himself, rather than by Display Craft who bought out the production in 1977. By comparison, this sign must be newer than the late 1940s, as it has the four color masonite silk screening, rather than the three color metal or masonite silk screening. As well, it is likely older than the mid 1950s, due to the design of the wings. The near identical nature to the 1977 sign likely means this was produced in the early to mid 1970s. <a href="http://unpackingmanuels.com/files/original/1232/s-l640-pmioge.jpg"><img src="http://unpackingmanuels.com/files/original/1232/s-l640-pmioge.jpg" alt="DeKalb Corn Cob" width="233" height="175" /></a> <a href="http://unpackingmanuels.com/files/original/1232/mMh4Rroe7DnXk1f71l2rROQ-p30n4i.jpg"><img src="http://unpackingmanuels.com/files/original/1232/mMh4Rroe7DnXk1f71l2rROQ-p30n4i.jpg" alt="DeKalb Corn Cob" width="230" height="173" /></a> <a href="http://unpackingmanuels.com/files/original/1232/4931a-p9sox9.jpg"><img src="http://unpackingmanuels.com/files/original/1232/4931a-p9sox9.jpg" alt="DeKalb Corn Cob" width="468" height="351" /></a>   So how did this sign end up in Manuel’s Tavern? Well that, it seems, is a story I still need to hear…   Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Date A point or period of time associated with an event in the lifecycle of the resource 2015-10-21 Title A name given to the resource Essay: Great Flying Corn-Cobs, Batman! Creator An entity primarily responsible for making the resource Ness Creighton Description An account of the resource Ness Creighton's essay about the DeKalb Flying Corn Cob sign. https://www.unpackingmanuels.com/files/original/1351/Dawsons-VisualAnalysis.pdf 34562d9f8a1a5db898af01783f7e0b24 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Media These media provide substantial narrative elements related to the item. <iframe width="100%" height="500" src="http://unpackingmanuels.com/files/original/1351/Dawsons-VisualAnalysis.pdf"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dawson's Ale Tin Charger - Visual Analysis Description An account of the resource A presentation produced by Samantha Craig for English 3135 Visual Rhetoric at Georgia State University Source A related resource from which the described resource is derived <a href="http://sites.gsu.edu/unpackingdawsons/visual-analysis/">http://sites.gsu.edu/unpackingdawsons/visual-analysis/</a> Date A point or period of time associated with an event in the lifecycle of the resource 2017 Creator An entity primarily responsible for making the resource Samantha Craig https://www.unpackingmanuels.com/files/original/1235/man-horse-1.png 85f2bdfa08c8f0c1edd7363ca88add28 https://www.unpackingmanuels.com/files/original/1235/Man-and-horse-Ruby.pdf ab5d27b26d21ebd4cc67773d421c3e1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essays Description An account of the resource Essays provide additional information and research about items found on the walls of Manuel's Tavern Essay Essays provide further information about items on the walls of Manuel's Tavern Essay Text <div style="text-align: center;"><img src="/files/original/1235/man-horse-1.png" width="300" /></div> He’s a Rough Rider, he’s a man of the plains. In one hand’s the rifle, in the other the reigns. He’s east Texas, west Ohio, Tuscaloosa, born and raised. Heard the whistle of a bullet, but never felt its touch. Talked about the war once, but didn’t say that much. I asked him about God, I asked him if he prayed. God’s got his hand on me, was all he said. If you ask him where he calls home, he’ll tell you The West. The Great Plains, his horse, and a few memories of before – that’s all he’s got left. He had a woman and a kid back East, but that was a few years ago at least. He’s in the army, he’s a cavalryman. You can tell by the uniform, or just the rough on his hands. He bought his horse from an Indian many years ago. She’s a muscled beauty, brown coat, but white from the eyes to the nose. She saved him as many times as he’s saved her, maybe more. She’s more of his friend than she is his horse. I remember him then, as he will always be. On the back of his horse, riding away from me. With his hat on his head and his bandana around his neck, the Rough Rider and his horse set off into the West. The sun’s low now as the light fades to sepia dusk, but his eyes are on the ground, scouring the dust. He never looks up, never looks away, never lifts his gaze. God’s got his hand on me, was all he’d ever say. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Essay: A Man and His Horse Creator An entity primarily responsible for making the resource T. Joshua Ruby Date A point or period of time associated with an event in the lifecycle of the resource 2016 Description An account of the resource A creative interpretative essay by T. Joshua Ruby about the painting of a figure from the western United States.