Manuel's Tavern

//Emory student//, first-timer in Manuel's, walks into a bar ... Sits down and starts a conversation with a //Manuel's regular//, with the bartender sometimes being pulled into the discussion. <img src="http://i2.wp.com/eng181s16.davidmorgen.org/wp-content/uploads/2016/02/Screen-Shot-2016-01-29-at-6.05.20-PM-1.png" height="243" width="902" alt="Main North Wall"> What would you like to ask about? [[Atlanta History]] [[Beer Stuff]] [[Global Reach of Manuel's]] [[Random Objects]] Check out the assignment page here: (link: "Manuel's Tavern assignment")[(gotourl: "http://eng181s16.davidmorgen.org/quests/main-quests/unpacking-manuels/")]

Maloof Manuel was the CEO of Dekalb County... Need dialog here, which would lead to choices to discuss the following artifacts: [[MARTA speech]] [[Letter from Mayor Bill Campbell]] [[Leroy]] [[McGruff]] [[When Gentleman Agree]] Back to [[Home]]

Need dialog here, which would lead to choices to discuss the following artifacts: [[Large brewing companies]] [[Microbrews]] [[European breweries]] [[Hard Ciders]] Back to [[Home]]

Need dialog here, which would lead to choices to discuss the following artifacts: [[Leroy]] [[Great Wall]] [[Grand Teton]] [[Yacht race]] [[Running From Bulls and Into Office]] Back to [[Home]]

Need dialog here, which would lead to choices to discuss the following artifacts: [[Leroy]] [[Tragedy]] [[Comedy]] [[McGruff]] Back to [[Home]]

<img src="http://eng181.ianheaven.net/wp-content/uploads/2016/02/manuel4.png" width="1202" height="577" alt="Leroy coat rack"> On the walls of Manuel’s tavern, sandwiched between two beer advertisements, is a coat rack with a small brass plaque reading “LEROY”. One wouldn’t expect such a humble marking to tell such an extraordinary story. Many years ago, LeRoy Powell, known for his quick wit and distinctly southern style, was a cameraman for WAGA-TV, an Atlanta based television station. LeRoy’s rise to fame began here, at Manuel’s Tavern, when he decided to get in front of the camera for his own opinion piece on American brewing. The very personality that would lead him to perform an unprompted news story based on his beliefs, would lead him to success as a TV personality from then on. Soon after, he was commentating and producing several of his own segments, becoming a well known local celebrity and winning dozens of regional Emmy Awards. Leroy became such a prominent and well-liked local figure that he was honored by the Georgia senate. Leroy would continue to be a regular (and very popular) patron at Manuel’s Tavern throughout his career until his tragic death from cancer at the age of 55. This plaque was installed in memoriam in 1999. There are many plaques in Manuel’s Tavern commemorating deceased regulars, lending the place a very personal atmosphere and highlighting its unique history. These plaques can be found throughout the bar, but Leroy’s plaque stands out from the rest. While you might expect to find a plaque on a table, on the bar, or facing the entrance, Leroy’s plaque stands alone on a coat rack. Why is it on a coat rack? Moreover, why is a coat rack even there? It seems unlikely that anyone would hang a coat directly above someone’s chair and over a beer advertisement, so it is reasonable to assume that the coat rack isn’t there to be a coat rack. It is entirely possible that the coat rack is of some personal significance to Leroy and is simply on the wall as a part of his story. It is also possible that the coat rack was already among the oddities on the wall when Leroy passed and it was just a fitting place for his plaque. Either way I think it’s there to call attention to itself. A customer might notice this oddly placed plaque on this oddly placed coat rack and ask, “Who is Leroy?”, so they might hear his story from an old-timer at the tavern – just one story among the many on the walls of Manuel’s tavern. Check out the student's write up here: (link: "Leroy")[(gotourl: "http://eng181.ianheaven.net/unpacking-manuels-leroy/")]

<img src="http://eng181.jaykim2016.com/wp-content/uploads/2016/02/Manuel-Maloof-2016-02-04-%E1%84%8B%E1%85%A9%E1%84%92%E1%85%AE-12.30.12-768x590.png" width="768" height="590" alt="Manuel Maloof at MARTA"> The man at the lectern is Manuel Maloof, an owner of Manuel’s Tavern and the former CEO of Dekalb County. Since Maloof was a politician, his bar had been an ideal place for all people to voice their opinions and discuss contemporary issues without any formal constraints. Because he was a famous politician and his bar was used as a forum for people to share their knowledge, the image of the owner is more than its visualization; it is also the owner’s “political and historical legacy”(History). Maloof served the commission as a democrat from 1974 to 1978. In 1980, he became the CEO of Dekalb County until 1992. I assumed that this picture visualizes the moment when Maloof gave a speech when MARTA extended its service to Hartsfield-Jackson Atlanta International Airport during his term. In his speech, he said, “What we need to learn today is that it is cooperation that does this. If we all pull together, we’ll make this the finest place on Earth to live. But I’m worried about that. We let race lines divide us. We need to break down these barriers. We need to get into Clayton County, Cobb County, Gwinnett County”(Kunerth). From his speech and his angry facial expressions, we can tell that Maloof was dissatisfied with the reality of race lines separating people and counties. Having no MARTA service into those three counties was just a superficial problem. The racial discrimination issue that was hiding underneath is the real issue that Maloof addressed at the lectern. Before going into how MARTA had been intertwined with the racial issue, I want to provide a brief history of the city of Atlanta to visualize the connection between the two. In 1950s and 1960s, America was undergoing a big change with the Civil Rights Movement. Atlanta was not an exception. As a great number of black people moved into the city of Atlanta, nearly half of white people escaped from the city to the suburbs. In 1961, in need of public transportation, city planners proposed a rapid-transit system to build transit-networking lines between suburbs and the City of Atlanta. The suburbs originally included all the five counties of Atlanta metropolitan area: Dekalb, Fulton, Clayton, Gwinnett and Cobb. However, Cobb County failed to pass a referendum to recognize the status of MARTA within its county; however, out of the remaining four counties, only two counties, Dekalb and Fulton, passed the financial referendum. Two counties agreed to raise sale tax by 1% to make atonement for the cost of operating MARTA. The other two failed to pass. The main reason was not the financial issue, but the ethical and racial issue. Especially, Gwinnett County, which used to be a white-dominated county, was hesitant, as its residents had fears of the influx of other races via MARTA, which could potentially lower their house values and their community safety. Maloof was discontent with residents from those three counties letting the racial issue to divide people and counties, but he was especially found the residents from Gwinnett reprehensible. People of Gwinnett County had not agreed on passing the referendum, but insisted on using the transit system. Maloof responded to Gwinnet County was to charge parking to the residents of Gwinnett County in MARTA park-and-ride lots in Dekalb. Another suggestion was to alter the routes of MARTA North rail line. Because Doraville was the closest Dekalb location for Gwinnett residents to take an advantage of park-and-ride systems, Maloof did not want MARTA to go near Doraville. I am not sure if his proposals were selected for implementation. The problem regarding the MARTA issue continues to this day. Clayton County has eventually agreed to raise the sale tax by 1%; thus, allowing MARTA to bring its residents to other counties. However, Gwinnett county, Georgia’s second most populated county, is still in the controversy of allowing MARTA into its county. More than half of the residents have agreed to bring MARTA into their county, which is a great improvement compared to decades ago when majority had rejected the transit system. The racial issue, as well, seems to no longer be a problem, as it is the most ethically diverse county in the state. In the near future, looking at the image of Maloof, I firmly believe Maloof hope to see MARTA functioning between all five counties, providing a safe and efficient service for all people regardless of race. Works Cited “History.” Manuel’s Tavern ~. Manuel’s Tavern, n.d. Web. 04 Mar. 2016. Kunerth, Jeff. “Rapid Transit Rail System Needs Suburbs On Board.“Tribunedigital-orlandosentinel. N.p., 11 July 1988. Web. 04 Mar. 2016. Kahn, Michael. “Despite Support, There’s a Long Road to Gwinnett for MARTA.” Curbed Atlanta. N.p., 21 Apr. 20(4)5. Web. 04 Mar. 2016. Monroe, Doug. “Where It All Went Wrong – Atlanta Magazine.” Atlanta Magazine. N.p., 01 Aug. 2012. Web. 04 Mar. 2016. Toon, John D. “Metropolitan Atlanta Rapid Transit Authority (MARTA).” New Georgia Encyclopedia. New Georgia Encyclopedia, 20 Oct. 2003. Web. 04 Mar. 2016. “Manuel J. Maloof’s Obituary on Atlanta Journal-Constitution.” Atlanta Journal-Constitution. AJC, 7 Aug. 2004. Web. 04 Mar. 2016. Check out the student's write up here: (link: "MARTA")[(gotourl: "http://eng181.jaykim2016.com/unpacking-manuels/")]

<img src="http://eng181.billiesolomon.com/wp-content/uploads/2016/02/Screen-Shot-2016-02-02-at-11.08.50-PM.png" width="476" height="560" alt="McGruff at Red Ribbon Week"> I chose to research the picture of a group of young children with McGruff the crime dog at a red ribbon week event in Atlanta. There are only a few photographs hanging along the main north wall of Manuel’s Tavern, most of the signs are paintings/drawings or beer company logos. I figured since this was an actual photo I would be able to find out a lot of information on the event from a newspaper article that would pop up in the reverse image search. I was definitely wrong there but my research has allowed me to better understand the large role Manuel’s Tavern plays in the surrounding community. It is not just a regular bar where people go to drink, the customers at Manuel’s have real conversations about their community and important issues of the day. This picture supports this notion about Manuel’s. McGruff the crime dog and Red Ribbon week work to keep kids away from the dangers of drugs and alcohol. By hanging up this photo Manuel’s is showing their support for this movement, and that they want to work to keep their community safe. McGruff the crime dog made his first appearance in 1980. McGruff is the mascot of a large national movement to keep kids off drugs and more recently to teach them about the possible dangers on the internet. McGruff spreads his message to kids in person at schools or through media such as commercials, songs and educational videos. (McGruff Wikipedia) It was very common for McGruff to appear at events like red ribbon week which works to keep kids away from drugs and alcohol. McGruff is not as prominent in his field but he still has a website that kids can visit. The website has games, videos and an advice page for kids to all take advantage of. The games section allows kids to have fun while also being taught an important lesson on safety and bullying. The advice page is divided into many sections including “bullies and getting along”, “guns, drugs and other”, “online safety” and “school safety”. These sections then have sub-sections to help make it easier for kids to navigate exactly where to go with their issue. (McGruff.org) McGruff has been a very effective tool for the authorities to use to help lower crime all over the country. McGruff’s message has been able to reach children all over the country and with small gesture of hanging up a picture that features McGruff, Manuel’s is reminding the community to that they care about the safety of their children. Red Ribbon week was started by the National Family Partnership in 1985. This is a time in our nation’s history where the sale and use of illegal drugs was largely on the rise. The murder of DEA agent Enrique Camarena by drug lords in Mexico sparked angry within his home community in California. The citizens there decided to start wearing red ribbons to show their support against the negative effects of drugs all across the country. This trend spread all around the nation. NFP decided to get involved and sponsored the first Red Ribbon celebration. (Redribbon.org) These ribbons work to remind the nation’s youth about the dangers of drugs and alcohol. I personally remember participating in Red Ribbon week every year in elementary school. The PTA would tie red ribbons to the fence of our school and write out a message such as “don’t drink and drive” or “say no to drugs”. On the Red Ribbon website there is a page where parents can take a pledge to talk to their children about the dangers of drugs. Even though Manuel’s Tavern is a bar, they want to be considered a positive force in their neighborhood. Every time one of their patrons looks at this photo they will be reminded that it is also their responsibility to help keep the children safe and be good examples. McGruff the crime dog and the Red Ribbon Campaign share many of the same goals and values. It makes sense that police and school administrators would bring in a national figure like McGruff to appear at Red Ribbon week and help spread awareness. Red Ribbon week is generally celebrated in October, which is when this photo was taken. This photo depicts the scene of an important movement that works to keep the youth of our country safe. Manuel’s, a very influential establishment, displaying the photo on their wall shows their support for this movement and that they care about the safety of their society. Check out the student's write up here: (link: "McGruff")[(gotourl: "http://eng181.billiesolomon.com/unpacking-manuels/")]

<img src="http://rwp.david.limo/wp-content/uploads/2016/02/ManuelsTavern.png" width="546" height="683" alt="Letter from Bill Campbell to Manuel Maloof"> 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. Check out the student's write up here: (link: "March of Dimes")[(gotourl: "http://rwp.david.limo/unpacking-manuels-march-of-dimes/")]

<img src="http://readwriteplay.fourtwentitalia.com/blog/wp-content/uploads/2016/02/Screen-Shot-2016-02-04-at-12.32.22-pm.png" width="208" height="345" alt="Comedy clown"> The object (#12) is one half of a pair of images that represent ‘Tragedy’ and ‘Comedy’ through the facial expressions of a clown, visual characteristics such as color, framing, shading, and variation. The half that I picked was ‘Comedy’, from the year 1968 by someone who goes with the name R. Kane Walsh. I tried to search for R. Kane Walsh, but couldn’t find any information about him on the Internet. This suggests that the artist was either not well known, or was sketching under a pen name, or a nickname to avoid receiving attention. But since there is no evidence on that, I cannot say for sure. The clown is presented using a side-view of his face. His facial expression suggests that he’s smirking, but it could a subtle smile obscured behind his make-up. Clowns generally have “made-up smiles” since their job is to be laughed at and make people happy. So they do have to keep up with their own expressions as well. As a matter of fact, it takes facials muscles to put on a smile, so smiling all the time can be a difficult task, and maybe that’s why they have these “made-up smiles”. The lines on the clown’s forehead also suggest the kind of expression he’s making. It looks as if he’s raising his eyebrows to open up the flow of the movement of his eyelids, while putting on a strict smile and proudly flaunting his cleft chin. The fact that his face is tilting at angle also suggests that he could be contemplating thoughts that make him ecstatic, if seen through the perspective of a natural lens. ‘Comedy’ and ‘Tragedy’ were two important genres in ancient Greek theatre. Comedy in ancient Greece had to do with the problems and escapades of ordinary people. Tragedy, on the other hand, was the negative of comedy. Instead of depicting a rise, tragedy depicted a fall. The question that I’m looking at is, what are the sketches of ‘Comedy’ and ‘Tragedy’ doing in a bar like Manuel’s Tavern? The question doesn’t have a simple answer to it. As someone visiting Manuel’s Tavern for the first time, it would seem as if ‘Comedy’ and ‘Tragedy’ were put up to reflect on the kinds of people that go to the bar. ‘Comedy’ represents the people who go to the Bar to drink with their friends and have a fun time, whereas ‘Tragedy’ personifies the people who come to the bar to drink their sorrows away. In Greek mythology, comedy often represented complex characters, with unexpected plots and a grave sense of ambiguity. When Manuel Maloof opened Manuel’s Tavern in 1956, his objective was to model it on the old country taverns in England that he had visited during the Second World War. The people who usually visited these taverns were travellers looking for a place to dine and drink. Social gatherings were held here too. Manuel’s Tavern presents this image of ‘Comedy’ with the underlying metaphor that life can be full surprises. After all, it was the place where Jimmy Carter first announced his intention to run for governor. Since there is no evidence on the original sketches at Manuel’s Tavern, we cannot put down a concrete reason as to why the sketches are there at the bar, but since Manuel’s Tavern is based on Old country Taverns in England around the mid 20th century, English theatre was still flourishing with many works from the 19th and 20th centuries. Thus, it could be assumed that the images of ‘Tragedy’ and ‘Comedy’ have been put up as decorative art, inspired from 20th century English theatre. Manuel’s Tavern presents itself as a homely place with this aspect, and if someone at the bar had asked what the two sketches signify, he would probably get a respond saying, “Life’s full of Tragedies and Comedies, and we at Manuel’s Tavern understand that”. Check out the student's write up here: (link: "Comedy, Tragedy, and Clowns")[(gotourl: "http://readwriteplay.fourtwentitalia.com/blog/comedy-tragedy-and-clowns/")] See also: [[Tragedy]]

<img src="http://eng181s16.emmalou2.com/wp-content/uploads/2016/02/Screen-Shot-2016-02-08-at-10.05.18-PM-186x300.png" width="186" height="300" alt="Tragedy clown"> Upon presented with this assignment and scrolling through one of the many walls of Manuel’s Tavern, scanning through various offensive photos, political documents, and alcoholic advertisements, I was immediately captivated by this drawing because of its slight tilt [OCD got the better of me (One would think there would be more precision before permanently drilling a framed drawing into a wall)], and because of Mel Brooks’ quote. Looking more closely, it struck me as ironic. A clown, one would assume, with a cleft chin, wearing a worn out Christmas hat, looking off into the distance with a frown on its face. This drawing, along with its pair (the same clown looking happy with the word “comedy” scrawled in bubble text on the bottom), are two framed drawings belonging to the artist R. Kane Walsh. While I couldn’t find any information about R. Kane Walsh or why/how these two drawings ended up in Manuel’s Tavern, I found deeper meaning in the drawing itself and what this sad clown symbolizes. Seeing these two drawings side-by-side made me recall the Greek theater masks that are often used to symbolize drama. Although R. Kane Walsh may have received inspiration from these iconic figures, the history behind the uses of the masks differs from the nuance of the sad clown. The topic on the meaning behind the sad clown erupted after the death of renowned comedian Robin Williams, who died by committing suicide. The joke from Alan Moore’s graphic novel, Watchmen, became viral, which goes: “Man goes to doctor. Says he’s depressed. Says life seems harsh and cruel. Says he feels all alone in a threatening world. Doctor says, ‘Treatment is simple. Great clown, Pagliacci, is in town tonight. Go and see him. That should pick you up.’ Man bursts into tears. Says, ‘But doctor, I am Pagliacci.’” For those who don’t know, “Pagliacci” means “clown” in Italian. It’s an Italian opera that portrays a husband, who works as a clown, getting overly jealous because his flirtatious wife is getting bored with him and has found herself a new romantic interest. They act out a play where the plot consists of the wife scheming to trick her husband. Things take a very real turn, and (SPOILER ALERT), the husband kills his wife, turning to the audience and saying the eerie words: “La commedia è finita!” The comedy is ended. There is actually a continuation of the joke in the form of a story called “Grimaldi.” In short, the doctor hints that the clown should kill himself, and the clown does everything in his power to commit suicide during a performance: slit his throat, try to hang himself, and even jump off a trapeze, all with unsuccessful results. Doing this results in the audience’s laughter, and the clown finds himself laughing with them, causing all his sorrows to disappear. What does this all mean? Well, it should be obvious: even clowns (and comedians) have problems. They can’t be comical and paste a smile on their face all the time. It has often been said that comedy and tragedy are two sides of the same coin. For those who prefer a more math-like representation, comedy = tragedy + time. Jamie Masada of Laugh Factory said, “Eighty percent of comedians come from a place of tragedy.” Forget comedians, we all have our own tragic problems to deal with, but let’s be real here: everyone knows someone who has it even worse, yet is always smiling and always selflessly listening to your problems, but never expresses his/her own. In the end, however, it’s merely a facade to make them look stronger and happier than anyone else; a curtain of laughter and joy that covers up a shadow of fear, timidness, suffering; a suit of armor known as confidence that conceals a frail body that would shatter into pieces with just a touch. Although they have the great ability to make other laugh in times of despair, they rely on no one to cheer them up. So what’s something like this doing in Manuel’s Tavern? Maybe R. Kane Walsh was trying to promote his/her work. Maybe it was just to fill up some empty space on the wall. Really, anything is possible with the little information I have, but to me, putting the tragedy clown juxtaposed to the comedy clown subtly reminds people that no matter how great or perfect a person may seem, they still share the same humanly feelings that everyone has. Perhaps when seen with all of the pieces of the North Wall of Manuel’s Tavern, it reminds us that those pieces didn’t earn their place on the wall or in society effortlessly. Various beer ads had to compete against one another; Manuel Maloof’s support was essential for the success of the March of Dimes auction, yacht races around the world are incredibly dangerous. Every obstacle faced can be considered a “tragedy” in order to reach that one desired goal of “comedy.” Check out the student's write up here: (link: "Tragic Clown")[(gotourl: "http://eng181s16.emmalou2.com/unpacking-manuels/")] See also: [[Comedy]]

Need dialog here, which would lead to choices to discuss the following artifacts: [[The Great Divide]] [[New Belgium]] Back to [[Beer Stuff]]

Need dialog here, which would lead to choices to discuss the following artifacts: [[When Gentleman Agree]] [[Miller High Life]] [[Miller High Life Witch]] [[Pabst Blue Ribbon]] [[Yuengling]] Back to [[Beer Stuff]]

Need dialog here, which would lead to choices to discuss the following artifacts: [[Harp Lager]] [[Liefman's Cuvée-Brut]] Back to [[Beer Stuff]]

<img src="http://eng181.zijiaye.com/wp-content/uploads/2016/02/Screen-Shot-2016-02-04-at-12.44.31-PM.png" width="480" height="683" alt="Man at the Great Wall of China holding a sign that says 'Hey to all you jerks at Manuel's Tavern'"> Scanning the North Wall of Manuel’s Tavern, I was suddenly attracted by a picture of a guy standing in front of a section of the Great Wall of China, holding a sign “Hey to all you jerks at Manuel’s Tavern.” Screen Shot 2016-02-04 at 12.44.31 PMWhen I first came to the picture, I regarded it as a normal travel photo, a record of an unforgettable journey. As I looked at the picture again, I was confused by the purpose of putting the travel photo on the wall of Manuel’s Tavern. Are the Great Wall and the Tavern related to each other? Which aspects are related? Intrigued by the query, I followed this little clue of the picture and dug into their histories, and determined the inner connection between these two seemingly unrelated places: their contemporary function as sites inclusive of diverse cultures and their long-lasting existence throughout evolving histories. The architecture of both the Tavern and the Great Wall fulfilled additional functions other than their initial purposes. Taverns, originating in England, used to be the place of business where people gathered to drink alcoholic beverages and consume food. When spread to America, taverns served as common gathering places for the community. In general, taverns are a public place for meeting or gathering. When Manuel was stationed in England during World War II, he intended to build a tavern modeled on previous ones. After he dismantled the grand old house and reclaimed decorations from other ancient houses, Manuel innovatively proposed that a tavern should be a place where people, regardless of ethnicity, nationality, and occupation, could come in and say what’s on their minds. He succeeded in turning the Tavern into a political and historical mark in addition to a public gathering place. Being a CEO of DeKalb County, Manuel was aware of the majority’s minds by dealing with people from various occupations and classes, which I believe is the reason why Manuel served his position for 3 terms. The principle of inclusion has turned Manuel’s Tavern into a global place, where diversity of culture and words are free to exist. The Tavern not only offers people adequate room to speak about their different ideas, but also provides a place to hold business meetings and wedding showers. Similarly, the Great Wall, the longest impervious barrier in the world, which spans fifteen provinces and took nearly 10 centuries to build, not only played a role of fortification, but also served as a transportation corridor that regulated trade and controlled emigration in the past dynasties. Nowadays the Great Wall acts as a symbol of ancient Chinese culture and is visited by people from all over the world. Therefore, the Great Wall and the Tavern enjoy a local influence as well as a global nature. Within the current of history, the Tavern and the Great Wall stand as witnesses to significant changes and events from one decade to another. Built in 1956, Manuel’s Tavern saw Jimmy Carter decide his ambitions to run for governor of Georgia, heard Tom Altzier first state his theory with “God”, and watched senators, singers, writers and other celebrities discuss current affairs. People brought character to the Tavern, and thus made the Tavern into a historical museum. Visitors not only came to hold parties and meet people, but also to cultivate their tastes, getting exposure to history from the countless signs and pictures on the walls. Likewise, the Great Wall experienced wars, revolutions, and successive generations of rulers, which left traces, such as broken bricks, smashed tiles, and weathered stairs. The evidence continuously warns present rulers to take history as a compass to guide the future and encourages people to carry forward the personality traits of their ancestors, such as industry, intelligence, alertness and so on. In conclusion, Manuel’s Tavern and the Great Wall are similar in various historical aspects. The river of history is still progressing, and it will continuously imprint marks on the Tavern and the Great Wall that will influence future generations. Nowadays, both places are famous landmarks for travelers. Visitors are attracted to these places by their reputations and historical values. They are both recognized as unique representations of their own realms of history, as tolerating diversity of ideas, races, and cultures, and as experiencing crucial events in their own days. I believe this connection contributed to the reason why the picture of a guy in front of the Great Wall was hung on the North Wall of Manuel’s Tavern. Works cited “History”. Manuel’s Tavern. Manuel’s Tavern, n.d. Web. 12 Mar. 2016. n.p. Burns, Rebecca. “The Museum of Manuel’s Tavern- Atlanta Magazine”. Atlanta Magazine. n.d. 5 Aug. 2014. Web. 11 Mar. 2016. n.p. “Great Wall of China History & Facts”. The China Mike RSS. n.d. Web. 12 Mar. 2016 Halun, Jakub. “Great Wall of China near Jinshanling”. Photograph. Own work. Wikimedia Commons. n.d. Web. 12 Mar. 2016 Check out the student's write up here: (link: "To all you jerks at Manuel's Tavern")[(gotourl: "http://eng181.zijiaye.com/unpacking-manuels-tavern/")]

<img src="http://readwriteplay181.maxxfaass.org/wp-content/uploads/2016/02/Screen-Shot-2016-02-04-at-12.29.29-PM-768x863.png" width="768" height="863" alt="Angry Orchard sign"> Growing up a tournament softball player I was always well acquainted with bars and taverns near any of the usual softball complexes that my team played at. It was a tradition after waking up at the ungodly hour of 5:00 A.M. or earlier to drive 90 plus minutes away to get to the 7:00 A.M. warm-up for the 8:00 A.M. game that my father and I would go grab lunch or dinner at a local joint before making the trek home. There were always sports on the television and the people were always extraordinarily friendly. After spending 8 hours straight in the blistering sun watching softball my dad always loved a cold beer. To this day I have no clue what kind of beer he drinks but I know that he was not an adventurous guy when it came to that specific beverage: He knew what he liked and what he wanted. I can’t recall the exact conversation but I remember when I was 16 I got lectured on his taste in beer when, after a particularly hot day playing softball, I asked him why he didn’t ever try hard cider instead of beer. As a 16 year-old hard cider seemed like it would be refreshing and cool and delicious. According to my father—who clearly had more experience when it came to beer and ciders—I was wrong. After his long-winded explanation my only comment was that he looked like the picture of the grumpy apple tree on the menu next to the beer selection. Imagine my surprise when I was looking at the digital walk through of the north wall of Manuel’s and I saw the top of grumpy tree. Photos and letters mostly cover up the Angry Orchard Hard Cider sign so all you can see is “Orchard Hard Cider” and the gnarled upper branches of a tree. In reality the poster is a vintage-looking metal sign of the logo that appears on the Angry Orchard beer labels of a rather grumpy-looking (my father argued that it looks thoughtful or pensive) weathered, old apple tree holding the characteristic partially-eaten apple that appears on all of the Angry Orchard Products. With a little more research I found that Angry Orchard is a brand owned by the Boston Beer Co. (this is the same company that is responsible for Samuel Adams beers) with roots in cider making. The actual Angry Orchard in Walden New York is about 60 acres and the area has been a farm since the 1700s. About 100 years ago it was converted into an orchard in 1963 the Crist, who currently owns this Orchard, bought the orchard. Angry Orchard began selling their three original hard cider flavors—Crisp Apple, Apple Ginger, and Traditional Dry—in 2011. Since then they have created many more flavors of hard ciders and have become one of the number one producers of hard ciders in the nation. I mentioned above that the sign is buried under letters and photos and other stuff on the wall. The funny thing is that those other items covering the Angry Orchard sign are much older than the sign itself so the question is, how on earth did it get buried under there? Someone would have had to consciously move the older letters and objects, put the sign on the wall, and then cover it back up: Why would they do that? Well, Manuel Maloof wanted his tavern to feel like old country taverns in Europe that he had seen when he was stationed in Europe in World War II. The origins of hard cider can be traced back to the Roman occupation of England in 55 BCE and it has grown in popularity since then. Hard Cider was the drink of choice in Europe since the 13th century and today England is the world’s largest producer of hard cider. It makes sense that Manuel Maloof, wanting to mimic the taverns of England, would have some kind of cider on tap. However Angry Orchard is a newer brand, Maloof was long gone by the time Angry Orchard came around in 2011 and I think that this is the reason why the sign is there. Maloof was no doubt familiar with hard ciders and people knew this, so when Boston Beer Co.—a company that the owners of the bar already bought from—came out with a hard cider they decided to put it on the menu as a nod the European style tavern that Manuel Maloof wanted to create and they hung the promotional piece from the company as an acknowledgement of that. That was the easy question, I haven’t talked about the hard one yet, so now I will take ‘Why was the sign buried?’ for 800 please! I thought long and hard about this question, I did my research and came up with diddlysquat. It took me two weeks and a chat with my father to find the answer. Even though I’m in college now and approximately 800 miles away my dad still goes out of his way to get me up at an ungodly hour before warm-ups and he still watches me play softball via live streaming of the games. On my way home from a tournament in Raleigh North Carolina I gave him a call and we talked. He always wants the dirt from the bullpen—how do the pitchers look, are you taking good care of them, who is the reliever, are you working on your inside frame? I was giving him a break down of the game when he asked how the freshmen were—he knew only a couple of us played and he wanted to make sure we were still having fun. I let him know that we were all doing well, but I was missing the game and waiting was difficult. He laughed and reminded me that patience was never my strong suit. He told me to wait and work hard and that my day in the sun will come. He reminded me that upperclassmen carry the history of the organization; they are the echoes of a proud past. But the underclassmen are the hope of a successful future. That is when the answer hit me like a ton of bricks. Those artifacts that bury the Angry Orchard sign were present at the time that Maloof was around. They are at forefront because those are little snippets of history. We all recognize that it’s important to remember the past, (It’s why we are doing this project!) that’s why those snapshots of history are displayed up front. Those letters and pictures have seniority over the ‘underclassman’ signs. The Angry Orchard sign doesn’t carry any weight or history yet. That sign is waiting for it’s day to come, for when it’s part of the past and ready to be displayed proudly, in front of other signs, amongst the letters and old photographs. But for now it’s the hope for a successful future of the iconic tavern. Check out the student's write up here: (link: "Angry Orchard")[(gotourl: "http://readwriteplay181.maxxfaass.org/unpacking-manuels-tavern-angry-orchard/")] Back to [[Beer Stuff]]

<img src="http://eng181.yjylucylucy.com/wp-content/uploads/2016/02/Screen-Shot-2016-02-04-at-12.43.29-PM.png" width="841" height="683" alt="People on top of Grand Teton"> When I looked at the wall of Manual’s Tavern, this picture immediately attracted me because I have travelled a lot with my parents and my friends. This photo reminded me of many wonderful moments during my hiking and climbing trips. Looking at the background, I saw beautiful lakes which lie at the foot of the mountains. Then I started to analyze this photo carefully despite the lack of information. On the upper-right corner, someone wrote “Grand Teton”, the date, and the elevation of the mountain. On the upper-left corner, “To Manuel’s” is written. In the middle, four people are holding a shirt with big smiles expressing pride and happiness. Located in northwestern Wyoming just south of Yellowstone National Park and just north of the town of Jackson, Grand Teton National Park preserves stunning mountain scenery and a diverse array of wildlife. Thus, this park’s mountain range is very popular among climbers, hikers, and photographers. Grand Teton is the highest mountain in the Teton Range and the highest point in Grand Teton National Park (“Grand Teton National Park” Jackson hole). Therefore, these four people in the picture above must be lovers of hiking. As you can see in the map below, Grand Teton National Park is far away from Manuel’s Tavern, which is over 1900 miles away. So, why did they hold the shirt in their hands and why did they travel that far to Grand Teton and send the photo back to Manuel’s Tavern? Even though the logo on the shirt was not clear, it roughly shows a sketch of a pig, which I infer is the logo of Manuel’s Tavern. From my perspective, the answers to these questions are that these people must have a great attachment to Manuel’s Tavern if they would intentionally take the shirt with the tavern’s logo on it to the top of Grand Teton. Otherwise, who would make that much effort to take such a photo on a mountain? The longstanding history of the mountain embodies the longstanding history of the tavern. In addition, the date which can be seen in the bottom corner indicates the history of the tavern by showing how old the photo is. Tracing back the past of Manuel’s Tavern, I have discovered the sources of people’s affections for it: the tavern’s accumulation of reputation and history. Its owner, Manuel Maloof, bought Harry’s Delicatessen on Highland Avenue in 1956 in Atlanta (“History”). He renovated it, renamed it, and made it a wonderful place for people to spend time after work. The location attracted students from Emory University and Agnes Scott College, which quickly made it a hangout place for students, journalists, and politicians. Thus, any talk of bars in Atlanta begins with Manuel’s Tavern as this is the place where professionals and even normal citizens have gone to talk about all of the world’s problems. As a result, people have built a strong connection with the tavern, as shown by the four people in the picture. Even though Manuel Maloof passed away, Manuel’s Tavern still carries on the tradition of being a neighborhood bar. All of Atlanta’s mayors have been regular customers at Manuel’s and it is the spot where future President Jimmy Carter announced his intention to run for governor of Georgia in 1970. Thus, all of these events have built up Manuel’s Tavern’s popularity ranging from normal people to influential leaders. The four people in the photo are enjoying the happiness of climbing to the mountain top. They are about twenty to thirty years old, which indicates that they are either the employees of Manuel’s Tavern or students from the colleges near Manuel’s Tavern who love travelling. From the ropes and harnesses and their outfits, we can see that they must have climbed a lot of mountains because Grand Teton ranks eighth in the US for elevation, which could not be conquered by normal climbers (“List of U.S. National Parks by Elevation”). Thus, they may have climbed other peaks in other national parks. They have such a strong affection for the tavern that they take the shirt even to the top of a mountain. This photo, which seems not directly related to Manuel’s Tavern, is a demonstration of its popularity among young people in Atlanta area, as well as its nationwide popularity. It grows together with generations of people living nearby this tavern and the greater Atlanta community, which has left precious memories for people. Even though time elapses, the spirit of this tavern is still there, providing a place for people to talk freely. As a result, it has achieved a good reputation and an important part of history in Atlanta over time. Works cited “List of U.S. National Parks by Elevation.” Wikipedia. Wikimedia Foundation, n.d. Web. 04 Mar. 2016. “Grand Teton National Park.” Jacksonhole. N.p., n.d. Web. 03 Mar. 2016. “Grand Teton National Park.” Wikipedia. Wikimedia Foundation, n.d. Web. 03 Mar. 2016. “History.” Manuel’s Tavern. Manuel’s Tavern, n.d. Web. 03 Mar. 2016. Check out the student's write up here: (link: "To Manuel's")[(gotourl: "http://eng181.yjylucylucy.com/unpacking-manuels-tavern/")]

<img src="http://yuhaveanythoughts.ericyu35.com/wp-content/uploads/2016/02/Manuels-Tavern-Art-Piece-1024x503.png" width="1024" height="503" alt="Whitbread Ale Yacht Race poster"> Looking at the main north wall of Manuel’s Tavern, it was quickly apparent there was a captivating history behind it: so rich and robust, with every portrait, painting, letter, and art piece giving life to the wall. And in the middle of this wall, with its large globe and flags contrasted against a pitch black background, hangs a large poster, immediately catching the eye of all who see it. This poster clearly dominates a large and central section of the wall, suggesting whoever decided to place it on the tavern walls had good reason to do so. The poster makes the bar feel bigger than the location, letting frequent comers or one timers feel that the history of the tavern extends around the world, while instilling a sense of unity by implying that the history is here for all to enjoy. Initially, it may seem challenging to a newcomer or frequent comer to understand the reasoning as to why this poster deserves its place on the tavern walls. A tavern such as Manuel’s, with such a rich history rooted in Democratic ties (ex. Jimmy Carter), surely must have some reason for a poster of this size to dominate such a central section of the main north wall. Perhaps it’s simply because the tavern is sponsored by Whitbread Ale, or maybe someone who participated in the 1993-94 Whitbread Round the World Race paid the tavern a visit. Delving into the poster, which describes a worldwide yacht race, may provide the key to understanding its significance. The Volvo Ocean Race (formerly the Whitbread Round the World Race), held every three years, is a yacht race that spans the entire globe. Originally sponsored by the British Whitbread brewing company, today it is currently owned by the Volvo Group. Currently, the Netherlands holds the record for most wins (three), with only one skipper (yacht rider) winning twice. Though the route changes to accommodate various ports of call, the race typically departs Europe in October, and in recent editions has had either 9 or 10 legs, with in-port races at many of the stopover cities. The 1993-94 race started in Southampton, England. For this race, yachts had to travel nearly 39,000 nautical miles (~72,000 km) through places such as Uruguay, New Zealand, Fort Lauderdale, and Australia before finally returning to England. The fastest skipper, Grant Dalton from New Zealand, took 120 days to accomplish this feat. It is interesting to note just how global of a sport this event is, attracting athletes of all nationalities to compete for one goal. But, nationality no longer matters when competing during the race. The only thing that matters is nature’s ultimate challenge: the seas. Make no mistake: this race is grueling and potentially life threatening, and every racer knows this. A sailing team of 9 professional crew must journey across the oceans, with some legs lasting 20 days or more before land is seen. Imagine if a yacht is damaged during this journey, like what happened to the yacht Azzam. Nearly 100 nautical miles out, it took heroic repair work to barely stay afloat. An incident like this clearly underscores the helplessness and isolation that can easily befall upon any skipper. Injuries and illnesses, some life-threatening, are hardly uncommon. The most fearsome thing about this journey has to be the loneliness, especially on legs across the Pacific, where the nearest form of land may be 2,700 kilometers away. On the seas, it doesn’t matter what a crew’s origin may be, whether it’s Japanese, Dutch, or any other culture: every person will feel the same emotions and face the same perils. What matters is precision and the ultimate form of teamwork and cooperation to make sure lives aren’t lost. When faced with such grueling conditions, the most beautiful side of humanity emerges, a side free of bigotry and bias. There is no discrimination involved when struggling between life and potential death. In many ways, this race embodies a powerful and simple idea society should understand: at the core, society is nothing more than people. Differences shouldn’t inhibit progress and cooperation. Maybe this poster is trying to tell the people of the tavern that everyone, no matter what corner of the globe they come from, should be comfortable coming to Manuel’s to enjoy themselves and live in the moment. Any frequent comer or one time goer can come together and celebrate the heralded history of the tavern through a lens free of judgment or preconceived notions. History doesn’t care where one comes from. It is clearly apparent just how magnificent this journey is when all the legs are placed together on the globe. In many ways this sport can be called a sport for straight lunatics, but upon further analysis it can also be seen as an attempt by humanity to conquer Earth’s oldest challenge: the seas. And in order for humanity to accomplish this feat, there must be complete acceptance of one another to ensure cooperation. In other words, there must be a feeling of unity that is universal. Maybe Manuel’s Tavern tries to instill this theme into all who frequent its space and its history. Symbolically, this tavern is much more than the walls and the pictures. The history behind the walls spans all reaches of the globe, and anyone, no matter who they are, that wants to see it for his or herself is more than welcome to. Check out the student's write up here: (link: "Whitbread Ale Yacht Race poster")[(gotourl: "http://yuhaveanythoughts.ericyu35.com/unpacking-manuels-tavern/")]

<img src="http://readwriteplay.chocoboretreat.com/wp-content/uploads/2016/02/bull-595x576.jpg" width="595" height="576" alt="Running of the bulls"> What could be better than spending a bright early Saturday morning running from a pack of bulls down a narrow street, wearing your best set of white and red clothes? If the dirt and sweat from running don’t dirty and stain your clothes, then a bloody nose or deep cut surely will once a bull runs into you headfirst from behind. Placed in a simple black frame that is slightly slanted to the right, the image presented contains a variety of qualities that fit into the lively atmosphere at Manuel’s Tavern. The eye is immediately drawn to a single bull with two very threatening horns leading the pack. It is impossible to know if he is running out of fear or anger. Yet one thing is definite: the bull appears more composed than those he is chasing. The dark-skinned and curly-haired man sprinting directly in front of the bull with a black handbag and a black jacket wrapped around his waist is in full stride, with one arm flailing and the other holding his bag to his chest. Although dangerously close to being caught by the raging bull, the individual focuses on striving forward without looking back, demonstrating his clear passion and determination to outrun the bull. To his left is another individual wearing white pants and a white short-sleeve button down to compliment his red belt and red bandana around his neck. Appearing to be slowing down, it can be assumed he is about ready to throw in the white towel, give in to fear of failure, and jump aboard the safety of the wooden railings. You may be wondering how the bull and these two figures relate to Manuel’s Tavern. As you may well know, Manuel’s Tavern has, over time, built a reputation in politics, attracting the everyday “man on the street” to voice his opinions to hopefully be heard by someone who wields political power. The image of the bull running in Spain shares qualities similar to those of candidates running for political office. Just as a Spanish bull runner risks his life running or deciding to quit before receiving serious injuries — possibly losing his life — a front-runner in politics puts his or her reputation on the line to be judged by thousands or even millions of people, and will ultimately either seize the day or forever taint his or her life with scars and a negative reputation. In addition to the similar daring and high-risk/high-reward relationship between bull running and campaigning for office, there is a more subtle meaning that can be identified. Bull running in Spain occurs between the 6th and 14th of every July, just days after the celebration of the 4th of July in the United States. The close proximity in dates may suggest that the owners of Manuel’s Tavern saw a relationship between the two events. During the drunk and cheerful celebrations on the 4th of July, this image could have helped show the owners’ appreciation of those that find joy in taking high-risk/high-reward opportunities. The focus is not directed towards the event of 4th of July but rather the qualities that the event embodies — fearlessness, pride, risk, and self-reward. Apart from the political connections that this photo and Manuel’s Tavern share, the skewed positioning of the photo’s frame contributes to the tavern’s atmosphere. The way in which the frame is slanted left on the wall, as opposed to being perfectly straight, adds character that many may overlook. However, on a subconscious level, this contributes to a more relaxed and sociable atmosphere that is appropriate in a tavern. If all objects on the tavern’s walls were to be perfectly and neatly organized, this would make the room feel structured and formal. A successful tavern aims for it’s customers to be in a relaxed, low-risk, and social environment for drinking and unwinding. What is especially interesting about this particular object on the wall is that it is nailed to the wall instead of hanging. Whoever nailed this frame to the wall, purposely left it crooked. This was either done intentionally for an informal effect or was done so without attention to detail, which relates to the tavern’s carefree and drunken atmosphere. The running of the bulls image not only fits into the political atmosphere that Manuel’s Tavern is well known for, but also adds character to the tavern through its content and its creative orientation on the wall. Removing the image from the wall would diminish Manuel’s Tavern’s unique, historical environment. Its regulars would lose an interesting object to socialize over and the owners would lose an important piece that inspires courage and bravery. A Manuel’s Tavern without an image of Spanish bull running, would simply no longer be a Manuel’s Tavern. Works Cited: “History.” Manuel’s Tavern ~. N.p., n.d. Web. 04 Mar. 2016. James, Randy. “A Brief History of the Running of the Bulls.” Time. Time Inc., 07 July 2009. Web. 04 Mar. 2016. “Manuel Maloof.” Wikipedia. Wikimedia Foundation, n.d. Web. 04 Mar. 2016. “Running Of The Bulls.” Wikipedia. Wikimedia Foundation, n.d. Web. 04 Mar. 2016. Smith, Lydia. “Running of the Bulls: The History and Controversy of Pamplona’s Famous Tradition.”International Business Times RSS. International Business Times, 05 July 2015. Web. 04 Mar. 2016. Check out the student's write up here: (link: "Running from Bulls and into Office")[(gotourl: "http://readwriteplay.chocoboretreat.com/home/running-from-bulls-and-into-office/")]

<img src="http://eng181.danielsperling96.com/blog/wp-content/uploads/2016/02/Screen-Shot-2016-02-04-at-12.29.58-PM.png" width="492" height="326" alt="Budweiser ad"> This poster, found on the Main North Wall inside historic Manuel’s Tavern, is a sign created by the Anheuser-Busch Company to market its top selling beer, Budweiser. Despite Belgian-Brazilian beer giant, Inbev, buying out the majority of Anhesuer-Busch in 2008, the company still strongly markets its American origins. The company’s founding reflects that of an American dream story. In 1857, Adolphus Busch left his home in Germany and immigrated to the United States. He made his way to St. Louis, Missouri, where he started a brewing company that eventually transformed into the largest brewing company in the United States. The American Dream story of Budweiser is a similar story to that of Manuel’s Tavern. Manuel’s Tavern’s owner Manuel Maloof was the son of a first generation immigrant father from Lebanon and a mother of Lebanese origins. He grew up without great wealth and left his home to help the American war effort during World War II. According to Manuel’s Tavern’s website, this is where Maloof first got the idea of opening a tavern. He wanted to create “a neighborhood watering hole, modeled on the old country taverns he visited during WWII.” Although made to look like the old bars of Europe, Manuel’s Tavern is different. Manuel’s Tavern and Budweiser alike are inspired by European origins, yet influenced by their American location. It would make sense for Maloof to decide to put a Budweiser sign in his bar because of their linked past, but how did he decide on this particular sign? The “When Gentlemen Agree…” 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 the political parties can be seen toasting their beer mugs together while smiling and seemingly enjoying each other’s company. At the time during an election year partisan relationships could get extremely tense. Bipartisanship is part of the foundation of American Democracy and arguably cannot be achieved without cordial relationships and friendly discourse between members of both parties. Budweiser pokes fun at this idea by suggesting that the two parties can unite over something universally appreciated, like a Budweiser beer. Although light hearted, I think Budweiser’s message is true. It is likely that Manuel Maloof, a politician himself, understood the importance behind the idea the sign is conveying. Manuel’s Tavern itself is one of the landmarks in Atlanta politics. On their website Manuel’s Tavern suggests that it is the location that President Carter first kicked off his campaign to run for Governor. One cannot visit Manuel’s Tavern without being immersed into its rich political history. This message from Budweiser on the wall is a clear stance on Manuel Maloof’s beliefs on bipartisan work. As a bar with clear and firm connections to the Democratic Party, Maloof could have found a sign that denounced the Republican Party or celebrated his own, however, he found a sign that honored the collaboration of the Democratic and Republican parties. The sign insinuates that when both parties are able to compromise and work together, everyone is happy. This message is possibly even more consequential today than it was in the 50’s and 70’s. In a time when the two parties’ beliefs are growing even further apart it is important to remember that only through compromise can any true change happen. Sources: Allen, Matt. “Anheuser-Busch Reports Rise in Q1 Sales, Slight Drop in Profit – St. Louis Business Journal.” Widgets RSS. N.p., 23 Apr. 2008. Web. 05 Mar. 2016. Found Here. “History.” Manuel’s Tavern ~. N.p., n.d. Web. 4 Mar. 2016. Found Here. McDonough, John, and Karen Egolf. The Advertising Age Encyclopedia of Advertising. New York: Fitzroy Dearborn, 2003. Print. Check out the student's write up here: (link: "When Gentleman Agree ... Budweiser")[(gotourl: "http://eng181.danielsperling96.com/blog/unpacking-manuels/")]

<img src="http://eng181.madalynarles.com/wp-content/uploads/2016/02/Screen-Shot-2016-02-09-at-12.19.38-AM-300x214.png" width="574" height="413" alt="Miller High Life etched mirror"> Manuel’s Tavern is practically a historic landmark. Ever since its opening in 1965, Manuel’s has been a hot spot in Atlanta. Unlike most stereotypical bars or taverns, Manuel Maloof created this unique getaway by foraging things like mismatched chairs, other furnishings, and wall decorations from local stores and homes that were scheduled for demolition. He created a one of a kind space from treasures he found in the community around him; perhaps the distinctive feeling one gets while in Manuel’s comes from the eclectic mix of odd furnishings and decorations. The walls are filled with pictures and paintings from many different times and places. A reoccurring theme, however, seems to be posters and advertisements for many different beers, it is a bar after all. One particular display on the North wall of Manuel’s is a “Miller High Life, The Champagne of Beers” mirror sign with a photograph etched into it. This piece is promoting Miller High Life, interestingly, the oldest brand of beer crafted by the Miller brewing company. It is called “The Champagne of Beers” because of its high levels of carbonation, making it comparable to champagne. This slogan is actually an adapted version of the original slogan “The Champagne of Bottle Beers.” Miller High Life was originally only produced in small champagne bottles and was thought to be one of the country’s most high-end beers for years. Now, Miller High Life is most commonly sold in what are called “pony bottles.” These bottles are quite unique; they are typically a small clear glass bottle shaped at the top like a champagne bottle with a gold label.HighLifeDuo2 This bottle is one of Miller’s oldest intact beers, dating back to the early 1950’s. Although the pilsner isn’t exactly in its prime anymore, seen by the fading color of the drink, it’s easy to see the authenticity of the labeling and the distinctiveness of the bottle in general. It is easy to understand why a bar would have an advertisement of beer on the wall, but why the picture that is imbedded in this mirror? Before looking closer at the dulled picture, the poster depicts one of the iconic symbols of the Miller High Life brand on the border of the photo, the “Girl on the Moon.” She is thought to be the granddaughter of Frederick Miller, the company’s founder. This image has been reimagined several times by several artists, but still maintains the original dignity of the design and is very recognizable. Looking closer at the picture itself, is difficult to determine what exactly it is depicting. It seems to be a dulled picture of many men sitting around a table or bar, drinking Miller High Life. Looking closely, the men are all wearing different attire, suggesting a difference in socioeconomic backgrounds and job differences. This ties almost too perfectly into what Manuel’s Tavern is. It’s a place where everyone is welcome no matter their job, ethnicity, etc; and this picture shows a scene of an inclusive and diverse environment exactly like that of Manuel’s. The picture is quite dulled, and obviously old, so it might remain a mystery who these men really are and why they are being photographed for Miller High Life, but it’s no secret that the picture has remarkable similarities to Manuel’s Tavern itself. That is one of the beauties of Manuel’s. It is basically created from hundreds of pieces or art, furniture, posters, and much more whose origin is unknown and creates a world of mystery. See also: [[Miller High Life Witch]] Check out the student's write up here: (link: "Living the High Life")[(gotourl: "http://eng181.madalynarles.com/living-the-high-life/")] Back to [[Beer Stuff]]

<img src="http://eng181.ducmywholelifeup.com/wp-content/uploads/2016/02/Screen-Shot-2016-02-03-at-9.56.07-PM-1038x576.png" width="1038" height="576" alt="The Great Divide sign"> Started by Brian Dunn in Denver, Colorado, the Great Divide Brewing Company has set the standard for American beer. Only three years after the company was founded in 1994, their Hibernation Ale won the gold medal for strong ale/English-style old ale at the 1997 Great American Beer Festival. Since then, the Great Divide Brewing company has won numerous awards for crafting many of the finest North American beers and has grown substantially from its humble beginnings. After completing his undergraduate, Brian Dunn developed farms in third world countries. Over the course of his time spent abroad, Dunn developed an interest in beer and upon returning to the US, Dunn completed his graduated studies in Environmental Policy and Management. Dunn did a market study and wrote a business plan in 1993 and after securing investments from family and friends as well as a loan from the city of Denver, the Great Divide Brewing Company opened in 1994. The location of the brewery nor its name are entirely random. Colorado is considered by many to be the beer capital of the US. Home to Coors, which is in a joint venture with SABMillers to produce both the entire Miller and Coors beer lineups, is the second largest brewery in the US and is headquartered in Denver. The ice melt that flows from the mountains requires little purification to be used brewing, which cuts costs and forms the backbone of the brewing industry in the state. The name Great Divide, in addition to being the name of the brewery founded by Dunn, is the name of the Continental Divide of the Americas, which is the line of mountainous regions that runs from Mexico to Alaska and includes the Rocky Mountains which run through Colorado. With Dunn founding his brewery in the Mile High City that is Denver, Colorado, the name could not have been more appropriate. Dunn, having studied environmental policy, has built the Great Divide to be environmentally conscious throughout each step of brewing and packaging. The average brewery uses approximately eight gallons of water for each gallon beer produced, while the Great Divide manages to produce one gallon of award winning beer with only 5.5 gallons of water. The grain spent from brewing is used as feed for cattle. The packaging from glass to keg is all recyclable. Even their facilities are lit by high efficiency CFLs and LEDs. Additionally, all revenue from the Great Divide’s three dollar samples are donated to local nonprofit organizations. After over a decade of successful brewing, Great Divide underwent a $1.2 million dollar expansion into an old dairy processing plant in 2008 following a 45% increase in production in 2007. The expansion included additional refrigeration equipment as well as a new bottling line, which triple the companies bottling rate. In 2013, the company continued to expand by purchasing five acres in Denver for a new packaging facility. In 2015, Great Divide expanded yet again by opening its own bar, the Barrel Bar, in Denver. Growth continues for the Great Divide Brewery as it is quickly becoming one of the most successful microbreweries in the US. Like many taverns, Manuel’s Tavern strives for atmosphere, an atmosphere that characterizes the establishment as a whole and creates its identity. Many bars have lit signs and logos from the classics such as Guinness, Coors, and Budweiser. The Great Divide Brewing Company is not a classic, nor is it time tested. It hasn’t existed long enough to become one of the ‘greats’ in the world of brewing. The Great Divide is new, progressive, and environmentally friendly. By including The Great Divide logo, Manuel’s Tavern incorporates characteristics from The Great Divide logo into the atmosphere. Manuel’s is open and progressive but has not forgotten its Budweiser past. Check out the student's write up here: (link: "The Great Divide")[(gotourl: "http://eng181.ducmywholelifeup.com/the-great-divide/")] Back to [[Beer Stuff]]

<img src="http://videogamewriting.bfanreadwriteplay.com/blog/wp-content/uploads/2016/02/Screen-Shot-2016-02-04-at-12.32.16-PM-768x364.png" width="768" height="364" alt="PBR sign"> Pabst Blue Ribbon It is perhaps one of the most well known cheap beer on the market affectionately called the broke college student’s drink for its affordability and utility. It is interesting to note that this reputation had already been built up back in the late 1900s and has become a point of marketing for the brand. The first thing that is noticeable about this decor is it’s vastly different color scheme from all the other beer advertisements. For example, with brand like Budweiser, earthier, darker tones are used to illustrate the boldness of flavor that comes with malt. However, with Pabst, the design uses a pale yellow that is impacted with red, blue, and white, traditionally festive colors. Pabst really encourages the idea that it is a light beer, which is much more popular with younger consumers. Pabst had been one of the most popular beers in the 1970s, peaking at around eighteen million barrels sold. In the early 2000s however, the company ended beer production at its main headquarters, sales dropped to under a million barrels. In 2010, Pabst was almost revitalized through crowdsourcing until the US security and exchange commission forced the marketing to shut down. Recently it was acquired by TSG consumer partners and won the best large brewing company in 2015. One of the more notable lines on the decor is the phrase “Happy Hour” which gives us another view into how their marketing targets younger people. In younger consumers, beer is a social drink that works well with parties, gatherings, and sports events. Pabst targets that idea with “Happy Hour” to suggest that the appearance of Pabst has a direct correlation to how enjoyable the event is. Pabst really focuses on becoming to “go-to” drink for whenever anyone hosts an event. On the other hand, the more thoughtful phrases of (or even lack thereof) other beers cater to a more mature audience. By becoming the drink of the party, however, Pabst had been able to establish it’s prominence then, a legacy that is still visible on campus life today. But Pabst’s significance within the tavern is a different story altogether. While the other brewing companies have established themselves, in either historic or modern context, Pabst is the only beer that was saved from death through the collective efforts of the community. In its revitalization, the dynamic of the majority became infused within the culture of the beer itself. This is what makes the brand stand out so much from the rest of the objects on the wall: it represents a history that is the cumulative effort of the audience. In other words, the brand name embodies its drinkers, representative of a middle ground within history; perhaps, a special moment in history is preserved within that sign, and therefore, its place upon Manuel’s tavern is justified as window into the years when a struggling brewery was brought up by the combined efforts of the populace. Check out the student's write up here: (link: "Pabst Blue Ribbon")[(gotourl: "http://videogamewriting.bfanreadwriteplay.com/blog/manuels-tavern-project/")] Back to [[Beer Stuff]]

<img src="http://eng181s2016.lfmussoliniproject.com/wp-content/uploads/2016/02/Yuengling-768x513.png" width="768" height="513" alt="Yuengling sign"> Though I was born and raised in a small town in South Carolina, my entire family hails from various cities in Mexico. Growing up I have attended many Hispanic gatherings and parties, the kind that last way into the morning of the next day. What do you do at these parties? Socialize, eat, and drink. And what do you drink at these parties? Mexican beer. My parents never even let me try a sip until I graduated high school but that didn’t stop me from learning all about Mexican beer and the sorts. From visiting tequila factories and breweries in Mexico, to knowing exactly how beer is made and recognizing my parents’ friends’ favorites, I was an informed teenager. That being said, American beer was a rarity in my house and I know absolutely nothing about American breweries. Why a Yuengling Brewery sign caught my eye when looking at the wall in Manuel’s Tavern, I have no idea, but I decided to jump right in and see what ‘America’s Oldest Brewery’ was all about. The sign itself is rather large. Its main shape is that of half a bottle cap with a rectangle below it. Big red neon light letters spelling out YUENGLING take up most of the rectangle. Two yellow neon lines are set above and below YUENGLING. Underneath this in white standard font are the words ‘America’s Oldest Brewery’, something that appears on all of their products. The hemisphere at the top is painted a light blue, almost like a sky. White neon lights outline the edge of the sign. In the middle sits a large bald eagle with its wings outspread as if to fly, sitting atop a rock. Under one of his claws is a barrel of beer with the initials Y&S stamped on the side. On either side of the eagle are the words ‘Since 1829’ in red scripted font, as if ‘America’s Oldest Brewery’ wasn’t enough to let consumers know that Yuengling was indeed the oldest brewery in the US. Being that I am quite unknowledgeable about this beer company, I took to Yuengling to find out more about the sign and business. Like many breweries today, the founder of Yuengling came to Pottsville, Pennsylvania from Germany. David G. Yuengling started Eagle Brewery in 1829. A few years later, David’s son Frederick joined and the company name was changed to D.G. Yuengling and Son. In 1919, the Prohibition took a major toll on the family business. Near beers were produced but this wasn’t enough to maintain profits. A year into Prohibition Yuengling Dairy Factory opened up. Ice cream and other dairy products were sold to keep the company in business. When the Prohibition ended, in an act I found very amusing, Yuengling shipped President Franklin Roosevelt a truckload of beer. In 1976, Yuengling is placed on state and national registers as America’s oldest brewery. The family used this to their advantage in many of their advertisements and can still be seen today on almost all of their products. By the end of the 20th century, the business was booming and demand exceeded capacity. To accommodate this, two more breweries were constructed. In 2012, Yuengling was named the largest US owned brewery. I think there’s something to say about Yuengling being America’s Oldest Brewery and its presence on the wall of Manuel’s Tavern. The Tavern is known as a hub for political events and all around American greatness. Yuengling is as American as you can get. Their joke on President Roosevelt reflected the company’s humor and showed their somewhat political side. Though there are many other beer signs on the wall, I think Yuengling truly embraces the ambiance of Manuel’s Tavern. Check out the student's write up here: (link: "Yuengling")[(gotourl: "http://eng181s2016.lfmussoliniproject.com/unpacking-manuels-tavern/")] Back to [[Beer Stuff]]

<img src="http://eng181.lgmike.net/wp-content/uploads/2016/02/Untitled-768x738.png" width="768" height="738" alt="Miller High Life witch mirror"> Miller High Life is one of the most iconic brews created by the Miller brewing company in Milwaukee, Wisconsin. A German immigrant named Fredrick Miller founded the company in 1855, and in 1903 he perfected the brew that would become Miller High Life. The image of the girl on the moon along with the label “The Champagne of Beers” became the face of the brew and values that would last for over 110 years. The values that the Miller Brewing Company have represented during their existence make this sign a perfect fit for Manuel’s Tavern. When you think about, this image and the beer along with it are perfect for any local bar. Given the time period this image was created in, the girl on the moon implies Miller High Life is the greatest achievement the brewing company has made, comparing it to putting a man on the moon which at the time was a seemingly impossible task. As a consumer, seeing a beer that is pictured to be the equivalent of putting someone on the moon, it would be a mistake not to try it. Since Manuel’s is a bar, it obviously would be looking for ways to encourage customers to purchase drinks and what better way than to have vintage signs that advertise products in admirable ways. While its use as a marketing tool is an important reason for it being on the wall, it represents only a small part of why Manuel’s decided it was worthy of being placed there. Another reason this Miller High Life image is significant to Manuel’s is because of the company’s values such as, appreciation for the working class, the typical group of people that populated local bars. The company launched a marketing campaign in honor of the workingman with the slogan, “If you’ve got the time, we’ve got the beer”(Miller Company, “Miller High Life”, 2015). The campaign was meant to show that, men weren’t drinking the beer for a special taste; they were drinking because they had earned a quality beer after a hard day working. Interestingly enough, Manuel’s is known as a local democratic bar with similar values. This slogan fits in perfectly with democratic views on the working class, however instead of earning a quality beer, they believe these men and women should earn quality pay and benefits for working as hard as they do. Throughout the Miller Company’s existence, they have aligned themselves with other democratic values as well. Throughout the 1940’s and 50’s Miller’s ads put a lot of emphasis on “Affordable Luxury”(Miller Company, “Miller High Life”, 2015). The Democratic Party also strongly values affordability, and that is seen in many of the bills the party has passed. At one time Miller was the sponsor of Milwaukee’s first baseball team. Baseball during the time was largely a working mans sport and men would get together and attend games at which they would socialize over a beer. Another implication is unity. Typically, beverages such as Miller High Life are present when groups of people come together to celebrate and feel comfort, and yes, Miller has a slogan for just this. “Home is where the Miller is”(Miller Company, “Miller High Life”, 2015) is another slogan the company created to emphasize Miller is a beer to be shared with friends and family. Having this sign on the wall at Manuel’s implies that the bar is a place to come together as a community and develop brief or long term relationships with people that have similar interests. Democrats also have these social values of unity and comfort among others, seen in a lot of modern civil campaigns. The values that the people at Manuel’s Tavern align themselves make this sign a perfect object to put on a wall. Support for the workingmen, and unity are all values that local bars follow and what better way for a local tavern to emphasize these values then by filling their walls with objects that emphasize them in many different ways. Check out the student's write up here: (link: "Manuel's Tavern")[(gotourl: "http://eng181.lgmike.net/manuels-tavern/")] See also: [[Miller High Life]] Back to [[Beer Stuff]]

<img src="http://eng181.zlemberskystudent.com/blog/wp-content/uploads/2016/02/Screen-Shot-2016-02-04-at-12.34.01-PM.png" width="739" height="373" alt="Harp lager sign"> The image of the Harp Lager sign in Manuel’s Tavern may seem bland, but it holds meaning all the way to the heart of Guinness beer. A wooden frame exemplifies the mirrored looking background giving it a dark look–like the look of a freshly poured Guinness– to the sign. Overlaying the dark, comes a horizon of blue and gold that say the word HARP. Above this word, a picture of the musical instrument the harp, also a symbol of Guinness, can be discerned. The connection between Harp the beer, and true Guinness, is that Guinness has been using a harp as one of its symbols since 1862. That is why naming an entire type of beer off of only a part of the symbol holds much importance to the Guinness company. It also shows a generational gap between the old Guinness enthusiasts and the newer generations. The older generations preferred the hard, black, and thick taste of the Guinness draught. While the youngest of enthusiasts seemed to take a liking to the lighter brown lager. Just as how the true Guinness taste has many more symbols to that particular beer, the Harp lager literally has a harp (which is known for its soft music, much like a soft beer) as their symbol. Just as a little background for those who are not beer enthusiasts, before World War II men predominately drank beer, specifically the dark beers that Guinness is known for. However, once most of the men went off to war the beer companies no longer had their main customers. The women where now the predominant customers and did not particularly enjoy darkest of beers. In result, they started making a lighter brown beer to quench the thirst of the women. Once the men came back from Europe and they tasted the glories of the lighter brown beer, the men came to their senses and could not drink enough of the lighter beer. Well that might be enough on the beer itself. Now lets ask why is there a Harp lager sign on the walls of Manuel’s tavern? Maybe a better question is how does anything get on the wall of Manuel’s tavern? Some have interesting stories, some are just sings, and some are amazing beers. (Or so I am told). Harp lager just happens to be one of the supposed amazing beers that is served at Manuel’s tavern. Some may ask why would an establishment just hang a sign of an amazing beer when you have almost limitless other objects that could be hung? I believe the Harp Lager sign is hanging on the wall because it is a reminder of the time spent in Europe by the original founder Manuel Maloof during World War II. In fact the whole bar is based off of Manuel’s experiences in Europe. “Manuel wanted to create from this a neighborhood watering hole, modeled on the old country taverns he had visited while stationed in England during World War II.” He functionally created a salon, a gathering place for those to express their ideas, with the ability to double as just a place to have fun. This style of bar accesses a different type of clientele from the average dive bar. Manuel’s Tavern draws intellectuals, politicians, celebrities, but also anyone looking for a good time. The style and atmosphere of the bar promotes intellectual conversation, not cheesy pick up lines. Not only does the atmosphere draw a certain type of people, but the sophisticated drafts such as Harp Lager weeds out crowds just looking for an ice cold Budlight, although they do carry it. The sophisticated European drinks like Harp promote casually sipping on the drinks while talking with friends like a classic European pub versus the pound them back type of shenanigans at a local dive bar which was exactly what Manuel Maloof wanted to avoid. Check out the student's write up here: (link: "Harp Lager")[(gotourl: "http://eng181.zlemberskystudent.com/blog/harp-lager/")]

<img src="http://readwriteplay.kino321-x.com/wp-content/uploads/2016/02/Capture.jpg" width="768" height="590" alt="Hoptober"> This painting from the north wall of Atlanta’s Manuel’s Tavern is neatly tucked in the top-right hand section adjacent to a generic cowboy painting, an August-September schedule of NFL Redzone, and a dinner photo featuring owner Manuel Maloof and seven other compatriots. Upon first glance this particular object sticks out like a sore thumb among the seemingly dust-brimmed browns and blacks of the vintage logos that scatter the wall. A vast desert landscape can be seen with ominous mountains in the horizon and what seems to be a creek or river cutting across the right hand side. Six trees are present in the foreground, but their detail cannot quite be ascertained. The same can be said for this image’s central feature: nine individuals undertaking celebratory activities around a bonfire. One can be seen unicycling, two hula-hooping, and the rest dancing. This enigmatic scene suggests joviality amidst a sea of bleakness. Life, even a merry and free-spirited one, can exist no matter how desolate the surrounding environment. Further examination attributes this image as the main logo for New Belgium’s Hoptober series of house ales. New Belgium is a relatively new craft beer brewery founded in 1991 in Fort Collins, CO. Owner Jeff Lebesch became inspired in his 1989 Belgian bicycle trip to produce his first two concoctions: an amber called Fat Tire and a dubbel named Abby. His wife Kim Jordan earnestly supported his endeavors and essentially became the company’s first “bottler, sales rep, distributor, marketer and financial planner”. As chief marketer, Jordan would eventually hire watercolor artist Anne Fitch to handcraft elegant and stylish logos for the company and their line of beers. This logo then appears to embody the spirit of New Belgium and their Core Values: Environmental stewardship. Fostering trust and committing to authentic communications and relationships. Kindling social, environmental, and cultural change. Having fun. ——————————————————————- The concept of alcohol consumption as a predominantly social affair dates back millennia. Sharing a drink with friends, colleagues, and fellow contemporaries has always been a time of merriment, exuberance, and the occasional spontaneous outburst. Bars and taverns are venues of social exchange, places where everything from fully-fledged ideologies to half-baked ramblings to long-winding vents gain life. This special concoction of outbursts make drinking a fundamental, highly important event in many people’s lives. As inhibitions are loosened, relationships are birthed and burdens are lifted. Drinking is cathartic to many, a time to let go and cleanse without the anxiety and prying looks associated with sobriety. This mysterious painting then not only conveys the exhilaration and festivity that comes with inebriation, but also the sense of singularity that one experiences. At Manuel’s Tavern, individuals are not “anonymous bartenders and nameless, faceless customers”. The “regulars” who come from every walk of life and possess diverse occupations are shown as dark silhouettes in the painting, unable to be differentiated with an ordinary eye. This oneness parallels the Tavern’s promise in which these customers are simply “accepted for who they are, known by their name or what they drink”. Check out the student's write up here: (link: "New Belgium")[(gotourl: "http://readwriteplay.kino321-x.com/unpacking-manuels-tavern/")]

<img src="http://eng181.jordansmall.org/wp-content/uploads/2016/02/Picture1.png" width="975" height="670" alt="Hoptober"> “I’ve never heard of it,” is what my father replied when I asked him what he knew about Liefmans beer. My father is not the kind of guy who does microbrewery tours or brews at home, but rather he is the kind of guy who would be found chatting with the bartender at Manuel’s Tavern. So with my father’s lack of knowledge and the forty-eight-word Wikipedia entry, I began my journey to discover the story behind Manuel’s Tavern and the Liefmans Cuvée-Brut sign. Manuel Maloof established his bar in 1956 with a unique vision in mind. Manuel’s Tavern was modeled on the European, old country taverns that Maloof visited while he was stationed in England during World War II. The tavern was built from history. Maloof salvaged furnishings from grand old homes and stores scheduled for demolition to create his vision of an old European tavern. The wall paneling, mismatched chairs, tables, booths, and even the light fixtures carry their own unique history while adding to the character of Manuel’s Tavern. Even the bar, which is the centerpiece of the Tavern, was built with individual character. The tavern is now over a century old and is covered with plaques bearing the names of Manuel’s regulars who have passed on (Manuel’s Tavern). The unique European theme is emphasized through the beer collection and the decorations on the walls. The menu, which lists the craft beers first and the traditional beers at the bottom, leaves the impression, encouraging the customer to try new things and explore the varied beer offerings. “So, what is Liefmans?”, a question I could picture my father asking while sitting at a bar and noticing a Liefmans Cuvée-Brut sign hanging nearby. If he is lucky, he would be sitting at Manuel’s Tavern. Why? Because Manuel’s Tavern is the type of establishment which would humor my father by explaining the history of the beer and offering a sample, rather than retreating to the traditional American beers. The legacy of Liefmans beer only adds to the historical European impression that Manuel’s Tavern leaves with each customer who enters through the front door. The legacy started when Liefmans brewery was established in 1679 by Jacobus Liefmans on the banks of the River Scheldt in Oudenaarde, Belgium. The European brewery was owned and operated by the Liefmans family for over three centuries, highlighting the importance of family lineage and continuity. Although it was a family run business, Liefmans brand image was heavily inspired by Rosa Merckx, the first female brew master. Rosa was very involved with the brewery’s operations for several decades and because of her, Liefmans was the first brewery to wrap every bottle by hand in tissue paper. Liefmans honored Rosa by adding her signature to every Liefmans label. The authenticity of the brewery is shown through its ability to manufacture and blend beers to create a unique taste. Cuvée, a French term, when applied to beer or ale, refers to a brew blended by the manufacturers to produce a certain taste. Brut beer implies high carbonation to allow for a very dry, high in alcohol beer. Liefmans Cuvée-Brut is also referred to as the Kriek-Brut, a complex blend between fifteen and twenty different batches of Goudenband and Oud Bruin. Because the taste of Liefmans is so complex, it leaves a distinct impression of flavor and history with every bottle. Liefmans went bankrupt in 2008 and was subsequently purchased by Duvel-Moortgat, the current brewery. Liefmans Cuvée-Brut can be found both within and outside Belgium, usually at more specialized cafes and beer shops. Unfortunately for the customers of Manuel’s Tavern, they do not carry any of Liefmans brews, so many question how and why they acquired the Liefmans Cuvée-Brut sign. It could be that Manuel’s Tavern used to serve Liefmans before it was bought by Duvel-Moortgat, as the bar does serve Duvel’s Belgian Strong Ale. On the other hand, it could be that Manuel Maloof happened upon the sign in another way and it elicited memories of his prior military service. No matter how the sign made its way into Manuel’s Tavern, it remains there today with great purpose. The importance of family lineage and tradition that is valued by Liefmans is also highly regarded by Manuel’s Tavern, which is still owned and operated by the Maloof family. The distinct flavors that are characteristic to Liefmans brews shows its uniqueness, setting it apart from other brews just like Manuel’s Tavern is able to differentiate itself from other, more traditional American bars. The Liefmans brand also leaves an impression of great European history, a central theme upon which Manuel’s Tavern was built in 1956. Although it appears like just another beer sign hanging on a bar wall, Liefmans Cuvée-Brut is representative of Manuel’s purpose in establishing his tavern. Manuel Maloof successfully established a “neighborhood watering hole” while upholding the European tavern theme. By displaying the Liefmans sign on the wall, Manuel’s Tavern associates not as a local bar, but as a place where family lineage, tradition, unique beers, and European history are preserved. (link: "Liefman's (Draft 1)")[(gotourl: "http://eng181.jordansmall.org/unpacking-manuels-tavern-liefmans-cuvee-brut-2/unpacking-manuels-tavern-liefmans-cuvee-brut/")]