7 15 463 https://www.unpackingmanuels.com/files/original/1a3a0520f3ae4d6f090b6d05b2d6188f.png 0a7cb14491c952e376a2b1a75ec4908b 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 Level 2 Wall Wall on which the object is displayed North 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 0402054 Flag Description An account of the resource American flag Identifier An unambiguous reference to the resource within a given context 0402054 Flag https://www.unpackingmanuels.com/files/original/187bad60caeb6b2b9fe91b1a4a60e268.PNG ef1d8f9756c5f88ff44f15feb0a9c129 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 Immersive Media Description An account of the resource This collection includes all of the 360° videos and tours of Manuel's Tavern Virtual Environment Virtual Environment Info <div style="text-align: center;">This video demonstrates the virtual environment that replicates Manuel's Tavern.</div> <iframe width="100%" height="315" src="https://www.youtube.com/embed/9xoI7TOUH0g" frameborder="0" allowfullscreen=""></iframe> <div style="text-align: center;"><a href="../../vr"> Click here to access and load the virtual environment (may take some time)</a></div> <a href="../../vr"><img src="http://ec2-34-208-184-70.us-west-2.compute.amazonaws.com/files/original/187bad60caeb6b2b9fe91b1a4a60e268.PNG" width="100%" /></a> 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 Manuel's Tavern Virtual Environment Description An account of the resource This immersive virtual environment allows you to move through Manuel's Tavern and interact with virtual objects. https://www.unpackingmanuels.com/files/original/0739bde5ecd8354c5d47aff89ced983c.png f6f5ab5684246317f7195868b4c8c916 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 North 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 0101129 Sign Description An account of the resource Fire extinguisher sign Type The nature or genre of the resource Sign Identifier An unambiguous reference to the resource within a given context 0101129 https://www.unpackingmanuels.com/files/original/d6da2b92dc065634e5972049652793b6.png d5306ae209cc9bb2ee952bc336384c40 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 North 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 0101128 Sign Description An account of the resource No Smoking Sign Type The nature or genre of the resource Sign Identifier An unambiguous reference to the resource within a given context 0101128 https://www.unpackingmanuels.com/files/original/9ccb0c57e95df827f438a5e1c62e6265.png e27c16452e8db271515bdf005651436c 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 North 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 0101127 Ad Description An account of the resource 1907 Yuengling calendar with puppies Type The nature or genre of the resource Ad Identifier An unambiguous reference to the resource within a given context 0101127 Advertisement https://www.unpackingmanuels.com/files/original/aa457eef6a84f8959064d6b76f49ad58.png 777992471163d96a30de18c5c95c9699 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/. Title A name given to the resource 0401015 Article Description An account of the resource Wooden plaque, All-Pro Bars article Type The nature or genre of the resource Article Identifier An unambiguous reference to the resource within a given context 0401015 https://www.unpackingmanuels.com/files/original/fed492444c86d40ae0204e99fe6d1157.PNG 54b57b66ca6933862b5f55e780ae713f 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 Immersive Media Description An account of the resource This collection includes all of the 360° videos and tours of Manuel's Tavern 360 Video This item type is for 360 videos Video <iframe width="100%" height="350" src="https://www.youtube.com/embed/gETgPHg9lWw" frameborder="0" allowfullscreen=""></iframe> Essay Text Virtual Reality is all the rage these days. It’s easy to scoff at all the hype, but until you try the new technology, you can’t fully comprehend the experience. Cheap and readily available devices like Google Cardboard, while not providing as powerful an immersive experience as more expensive headsets like the Oculus Rift, have allowed anyone with a smartphone to watch VR content. Last November, the New York Times sent Google Cardboard to over a million of their subscribers. They continue to create and collect VR content on their <a href="http://www.nytimes.com/marketing/nytvr/" target="_blank" rel="noopener noreferrer">nytvr</a> app. Much of the content from NYT and their competitors is compelling, but much of it is just “neat” and can wear thin fairly quickly. With any new media it’s hard to figure out how, when, and why to use the new technology. Georgia State University’s <a href="http://sites.gsu.edu/innovation/" target="_blank" rel="noopener noreferrer">Student Innovation Fellowship</a> program recently purchased a 7 GoPro VR video rig, and we wanted to experiment with how, when, and why to use the new device. Manuel’s Tavern was a couple of weeks from reopening, and because of our connection to the <a href="http://unpackingmanuels.com" target="_blank" rel="noopener noreferrer">Unpacking Manuel’s</a> project, tavern owner Brian Maloof agreed to show us some of the changes to the bar. We felt like a tour was the perfect way to test the rig because it would be fun to explore the renovated space in 360. When Maloof points to the playing cards still on the ceiling, the camera doesn’t pan. The viewer has to actually look up. When you hear hammering behind you, you can turn around to see what ‘s going on. Documentary filmmaker Ruth Dusseault did the shoot with Mat Munson, Alec Leverett, and Gerrett DeHart, GSU multimedia designers from the <a href="http://cetl.gsu.edu/" target="_blank" rel="noopener noreferrer">Center for Excellence in Teaching and Learning</a>. They set up in five locations, as Maloof explains some of the decisions made in the renovation. Over the next week, the multimedia team stitched and edited the video. It’s a new process, so you will see a few glitches, but we are excited about the finished project. The <a href="http://www.manuelstavern.com/" target="_blank" rel="noopener noreferrer">Tavern</a> is now open. With our video you can get a sense of the construction process, and as we continue work on the Unpacking Manuel’s project, you will be able to explore the bar before the renovation. You can watch the video on a computer and pan the video with your cursor, or watch on your phone and actually move in the direction you want to look. Most mobile devices will allow you to use a VR 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 Manuel's Tavern 360 Video Description An account of the resource This 360 video allows you to look around Manuel's Tavern while Ruth Dusseault speaks with owner Brian Maloof about the space. https://www.unpackingmanuels.com/files/original/74289d230f768155bd33e3cb378eeaab.png 15db1b8ce8abe6133373923abf200206 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. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Media These media provide substantial narrative elements related to the item. <iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/325755474&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true"></iframe> Interviewer The person(s) performing the interview Aaron Rowell Interviewee The person(s) being interviewed Angelo Fuster Location The location of the interview Manuel's Tavern 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 Sheriff of Shadyrest Relation A related resource <a href="http://ec2-34-208-184-70.us-west-2.compute.amazonaws.com/items/show/1168">0401037 Framed Newspaper</a> Description An account of the resource A story about a television broadcast using 3D glasses and a man known as the Sheriff of Shadyrest. 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/4e4d9273b8232974d99c2288ce62d5f4.png 277301aa43eb2e074abce99db2bb550b 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 Level 2 Wall Wall on which the object is displayed North 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 0402053 Lamar Plaque Type The nature or genre of the resource plaque Identifier An unambiguous reference to the resource within a given context 0402053 Memorial Memorial Plaque 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/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. 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/de915dc4ff46bd15850776383b48cacf.png aff5e8ef50b4c5278f8806f8a14d3c20 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 Level 2 Wall Wall on which the object is displayed North Reference Video These videos are informational only, not providing substantial narrative elements <iframe width="640" height="360" src="https://player.vimeo.com/video/218397166" frameborder="0" webkitallowfullscreen="" mozallowfullscreen="" 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 0402041 Photograph Identifier An unambiguous reference to the resource within a given context 0402041 Type The nature or genre of the resource Photograph 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.