#franklin mississippi

[mydailyvintagephotos]

Remembering Erma Franklin 🌹🕊on her Birthday 🎂

[dijidweeeb]

Old Maps, Alabama & Mississippi, Franklin County

[cartermagazine]

Today In History

Sam Cook, considered to be a pioneer and one of the most influential soul artists of all time, Cooke is commonly referred to as the “King of Soul” for his distinctive vocals, notable contributions to the genre and significance in popular music.

Cooke was born in Clarksdale, Mississippi, on this date January 22, 1931, and began his singing career with a gospel group known as the Soul Stirrers.

Going solo in 1957, Sam Cooke released a string of hit songs, including “You Send Me”, “A Change Is Gonna Come”, “Cupid”, “Wonderful World”, “Chain Gang”, “Twistin’ the Night Away”, “Bring It On Home to Me”, and “Good Times”.

Cooke’s pioneering contributions to soul music contributed to the rise of Aretha Franklin, Bobby Womack, Al Green, Curtis Mayfield, Stevie Wonder, Marvin Gaye, and Billy Preston, and popularized the work of Otis Redding and James Brown.

CARTER™️ Magazine

[mybeingthere]

I would like to repost the story of Loy Allen Bowlin, also known as The Original Rhinestone Cowboy, who was an outsider artist from McComb, Mississippi. His artwork largely included bejeweling his clothing, Cadillac, home and even his dentures with thousands of rhinestones.

"Loy Bowlin’s bejeweled dentures—a different color rhinestone on each tooth, two front teeth framed in gold—were a prelude to his creative output. Born on a cattle ranch in Franklin County, Mississippi, in 1909, Bowlin was a shade-tree mechanic and former used car salesman, who, upon retiring, took on a persona as McComb, Mississippi’s “Original Rhinestone Cowboy,” with a sparkling Western suit for each day of the week and a highly ornamented blue 1967 Cadillac to match. Inspired by Glen Campbell’s 1975 hit recording, and, depending on what version of the story—divine intervention—Bowlin became compelled to adorn everything he touched. In doing so, he was able to move beyond a life previously characterized by divorce and depression and into a bold new existence that drew people closer to share in his sense of joy and wonder." Continue reading

https://hyperallergic.com/.../the-original-rhinestone.../...

https://misspreservation.com/.../going-inside-loy.../

https://www.kohlerfoundation.org/.../major.../loy-bowlin/?

[justforbooks]

James Earl Jones

American actor hailed for his many classical roles whose voice became known to millions as that of Darth Vader in Star Wars

During the run of the 2011 revival of Alfred Uhry’s Driving Miss Daisy in London, with Vanessa Redgrave, the actor James Earl Jones, who has died aged 93, was presented with an honorary Oscar by Ben Kingsley, with a link from the Wyndham’s theatre to the awards ceremony in Hollywood.

Glenn Close in Los Angeles said that Jones represented the “essence of truly great acting” and Kingsley spoke of his imposing physical presence, his 1,000-kilowatt smile, his basso profundo voice and his great stillness. Jones’s voice was known to millions as that of Darth Vader in the original Star Wars film trilogy and Mufasa in the 1994 Disney animation The Lion King, as well as being the signature sound of US TV news (“This is CNN”) for many years.

His status as the leading black actor of his generation was established with the Tony award he won in 1969 for his performance as the boxer Jack Jefferson (a fictional version of Jack Johnson) in Howard Sackler’s The Great White Hope on Broadway, a role he repeated in Martin Ritt’s 1970 film, and which earned him an Oscar nomination.

On screen, Jones – as the fictional Douglass Dilman – played the first African-American president, in Joseph Sargent’s 1972 movie The Man, based on an Irving Wallace novel. His stage career was notable for encompassing great roles in the classical repertoire, such as King Lear, Othello, Hickey in Eugene O’Neill’s The Iceman Cometh and Big Daddy in Tennessee Williams’s Cat on a Hot Tin Roof.

He was born in Arkabutla, Mississippi, the son of Robert Earl Jones, a minor actor, boxer, butler and chauffeur, and his wife Ruth (nee Connolly), a teacher, and was proud of claiming African and Irish ancestry. His father left home soon after he was born, and he was raised on a farm in Jackson, Michigan, by his maternal grandparents, John and Maggie Connolly. He spoke with a stutter, a problem he dealt with at Brown’s school in Brethren, Michigan, by reading poetry aloud.

On graduating from the University of Michigan, he served as a US Army Ranger in the Korean war. He began working as an actor and stage manager at the Ramsdell theatre in Manistee, Michigan, where he played his first Othello in 1955, an indication perhaps of his early power and presence.

The family had moved from the deep south to Michigan to find work, and now Jones went to New York to join his father in the theatre and to study at the American Theatre Wing with Lee Strasberg. He made his Broadway debut at the Cort theatre in 1958 in Dory Schary’s Sunrise at Campobello, a play about Franklin D Roosevelt.

He was soon a cornerstone of Joseph Papp’s New York Shakespeare festival in Central Park, playing Caliban in The Tempest, Macduff in Macbeth and another Othello in the 1964 season. He also established a foothold in films, as Lt Lothar Zogg in Stanley Kubrick’s Dr Strangelove (1963), a cold war satire in which Peter Sellers shone with brilliance in three separate roles.

The Great White Hope came to the Alvin theatre in New York from the Arena Stage in Washington, where Jones first unleashed his shattering, shaven-headed performance – he was described as chuckling like thunder, beating his chest and rolling his eyes – in a production by Edwin Sherin that exposed racism in the fight game at the very time of Muhammad Ali’s suspension from the ring on the grounds of his refusal to sign up for military service in the Vietnam war.

Lorraine Hansberry’s Les Blancs (1970) was a response to Jean Genet’s The Blacks, in which Jones, who remained much more of an off-Broadway fixture than a Broadway star in this period, despite his eminence, played a westernised urban African man returning to his village for his father’s funeral. With Papp’s Public theatre, he featured in an all-black version of The Cherry Orchard in 1972, following with John Steinbeck’s Lennie in Of Mice and Men on Broadway and returning to Central Park as a stately King Lear in 1974.

When he played Paul Robeson on Broadway in the 1977-78 season, there was a kerfuffle over alleged misrepresentations in Robeson’s life, but Jones was supported in a letter to the newspapers signed by Edward Albee, Stephen Sondheim, Arthur Miller, Lillian Hellman and Richard Rodgers. He played his final Othello on Broadway in 1982, partnered by Christopher Plummer as Iago, and appeared in the same year in Master Harold and the Boys by Athol Fugard, a white South African playwright he often championed in New York.

In August Wilson’s Fences (1987), part of that writer’s cycle of the century “black experience” plays, he was described as an erupting volcano as a Pittsburgh garbage collector who had lost his dreams of a football career and was too old to play once the major leagues admitted black players. His character, Troy Maxson, is a classic of the modern repertoire, confined in a world of 1950s racism, and has since been played by Denzel Washington and Lenny Henry.

Jones’s film career was solid if not spectacular. Playing Sheikh Abdul, he joined a roll call of British comedy stars – Terry-Thomas, Irene Handl, Roy Kinnear, Spike Milligan and Peter Ustinov – in Marty Feldman’s The Last Remake of Beau Geste (1977), in stark contrast to his (at first uncredited) Malcolm X in Ali’s own biopic, The Greatest (1977), with a screenplay by Ring Lardner. He also appeared in Peter Masterson’s Convicts (1991), a civil war drama; Jon Amiel’s Sommersby (1993), with Richard Gere and Jodie Foster; and Darrell Roodt’s Cry, the Beloved Country (1995), scripted by Ronald Harwood, in which he played a black South African pastor in conflict with his white landowning neighbour in the 40s.

In all these performances, Jones quietly carried his nation’s history on his shoulders. On stage, this sense could irradiate a performance such as that in his partnership with Leslie Uggams in the 2005 Broadway revival at the Cort of Ernest Thompson’s elegiac On Golden Pond; he and Uggams reinvented the film performances of Henry Fonda and Katharine Hepburn as an old couple in a Maine summer house.

He brought his Broadway Big Daddy in Cat on a Hot Tin Roof to London in 2009, playing an electrifying scene with Adrian Lester as his broken sports star son, Brick, at the Novello theatre. The coarse, cancer-ridden big plantation owner was transformed into a rumbling, bear-like figure with a totally unexpected streak of benignity perhaps not entirely suited to the character. But that old voice still rolled through the stalls like a mellow mist, rich as molasses.

That benign streak paid off handsomely, though, in the London reprise of a deeply sentimental Broadway comedy (and Hollywood movie), Driving Miss Daisy, in which his partnership as a chauffeur to Redgrave (unlikely casting as a wealthy southern US Jewish widow, though she got the scantiness down to a tee) was a delightful two-step around the evolving issues of racial tension between 1948 and 1973.

So deep was this bond with Redgrave that he returned to London for a third time in 2013 to play Benedick to her Beatrice in Mark Rylance’s controversial Old Vic production of Much Ado About Nothing, the middle-aged banter of the romantically at-odds couple transformed into wistful, nostalgia for seniors.

His last appearance on Broadway was in a 2015 revival of DL Coburn’s The Gin Game, opposite Cicely Tyson. He was given a lifetime achievement Tony award in 2017, and the Cort theatre was renamed the James Earl Jones theatre in 2022.

Jones’s first marriage, to Julienne Marie (1968-72), ended in divorce. In 1982 he married Cecilia Hart with whom he had a son, Flynn. She died in 2016. He is survived by Flynn, also an actor, and a brother, Matthew.

🔔 James Earl Jones, actor, born 17 January 1931; died 9 September 2024

Daily inspiration. Discover more photos at Just for Books…?

[humunanunga]

So I looked it up, because of course the Holmes books aren't alone to enter the public domain this year, and Metropolis has too. So here's the list I found of creative works that are now public domain:

Books

— The Gangs of New York, by Herbert Asbury (original publication)

— Death Comes for the Archbishop, by Willa Cather

— The Big Four, by Agatha Christie

— The Tower Treasure, the first Hardy Boys mystery by the pseudonymous Franklin W. Dixon

— The Case-Book of Sherlock Holmes, by Arthur Conan Doyle

— Copper Sun, by Countee Cullen

— Mosquitoes, by William Faulkner

— Men Without Women, by Ernest Hemingway

— Der Steppenwolf, by Herman Hesse (in German)

— Amerika, by Franz Kafka (in German)

— Now We Are Six, by A.A. Milne with illustrations from E.H. Shepard

— Le Temps retrouvé, by Marcel Proust (in French)

— Twilight Sleep, by Edith Wharton

— The Bridge of San Luis Rey, by Thornton Wilder

— To The Lighthouse, by Virginia Woolf

Movies

— "7th Heaven," directed by Frank Borzage

— "The Battle of the Century," a Laurel and Hardy film directed by Clyde Bruckman

— "The Kid Brother," directed by Ted Wilde

— "The Jazz Singer," directed by Alan Crosland

— "The Lodger: A Story of the London Fog," directed by Alfred Hitchcock

— "Metropolis," directed by Fritz Lang

— "Sunrise," directed by F.W. Murnau

— "Upstream," directed by John Ford

— "Wings," directed by William A. Wellman

Musical compositions

— "Back Water Blues," "Preaching the Blues" and "Foolish Man Blues" (Bessie Smith)

— "The Best Things in Life Are Free," from the musical "Good News" (George Gard "Buddy" De Sylva, Lew Brown, Ray Henderson)

— "Billy Goat Stomp," "Hyena Stomp" and "Jungle Blues" (Ferdinand Joseph Morton)

— "Black and Tan Fantasy" and "East St. Louis Toodle-O" (Bub Miley, Duke Ellington)

— "Can't Help Lovin' Dat Man" and "Ol' Man River," from the musical "Show Boat" (Oscar Hammerstein II, Jerome Kern)

— "Diane" (Erno Rapee, Lew Pollack)

— "Funny Face" and "'S Wonderful," from the musical "Funny Face" (Ira and George Gershwin)

— "(I Scream You Scream, We All Scream for) Ice Cream" (Howard Johnson, Billy Moll, Robert A. King)

— "Mississippi Mud" (Harry Barris, James Cavanaugh)

— "My Blue Heaven" (George Whiting, Walter Donaldson)

— "Potato Head Blues" and "Gully Low Blues" (Louis Armstrong)

— "Puttin' on the Ritz" (Irving Berlin)

— "Rusty Pail Blues," "Sloppy Water Blues" and "Soothin' Syrup Stomp" (Thomas Waller)

Source: https://www.voanews.com/a/public-domain-debuts-include-last-sherlock-holmes-work-/6898309.html

[odinsblog]

The Supreme Court is trying to drag America backwards to “Separate but Equal”

President Andrew Johnson vetoed the nation’s inaugural Civil Rights legislation because, in his view, it discriminated against white people and privileged Black people. The Civil Rights Act of 1866 (which Congress enacted over the veto) bestowed citizenship upon all persons — except for certain American Indians — born in the United States and endowed all persons with the same rights as white people in terms of issuing contracts, owning property, suing or being sued or serving as witnesses. This law was proposed because the Supreme Court had ruled in Dred Scott v. Sanford that African Americans, free or enslaved, were ineligible as a matter of race for federal citizenship, and because many states had barred African Americans from enjoying even the most rudimentary civil rights.

Johnson vetoed the act in part because the citizenship provision would immediately make citizens of native-born Black people while European-born immigrants had to wait several years to qualify for citizenship via naturalization (which was then open only to white people). According to Johnson, this amounted to “a discrimination against large numbers of intelligent, worthy and patriotic foreigners, and in favor of the Negro, to whom, after long years of bondage, the avenues to freedom and intelligence have just now been suddenly opened.” Johnson similarly opposed the provision in the act affording federal protection to civil rights, charging that it made possible “discriminating protection to colored persons.”

A key defect of the Civil Rights Act, according to Johnson, was that it established “for the security of the colored race safeguards which go infinitely beyond any that the general government has ever provided for the white race. In fact, the distinction of race and color is by the bill made to operate in favor of the colored and against the white race.” Johnson opposed as well the 14th Amendment, which decreed that states offer to all persons equal protection of the laws, a provision which he also saw as a wrongful venture in racial favoritism aimed at assisting the undeserving Negro.

In 1875, Congress enacted legislation that prohibited racial discrimination in the provision of public accommodations. Eight years later, in a judgment invalidating that provision, the Supreme Court disapprovingly lectured the Black plaintiffs, declaring that “when a man has emerged from slavery, and by the aid of beneficent legislation has shaken off the inseparable concomitants of that state, there must be some stage in the progress of his elevation when he takes the rank of a mere citizen and ceases to be the special favorite of the laws.”

In 1941, President Franklin D. Roosevelt promulgated Executive Order 8802, which prohibited racial discrimination in the employment of workers in defense industries and established the Fair Employment Practices Commission to carry out the order. Assailing the order, Representative Jamie Whitten, a Mississippi segregationist, complained that it would not so much prevent unfairness as “discriminate in favor of the Negro” — this at a time when anti-Black discrimination across the social landscape was blatant, rife and to a large extent, fully lawful.

Segregationist Southerners were not the only ones who railed against antidiscrimination laws on the grounds that they constituted illegitimate preferences for African Americans. In 1945, the New York City administrator Robert Moses inveighed against pioneering municipal antidiscrimination legislation in employment and college admissions. Displaying more anger at the distant prospect of racial quotas than the immediate reality of racial exclusions, Moses maintained that antidiscrimination measures would “mean the end of honest competition, and the death knell of selection and advancement on the basis of talent.”

Liberals, too, have attacked measures they deemed to constitute illicit racial preferencing on behalf of Black people. When the Congress of Racial Equality, or CORE, proposed “compensatory” hiring in the early 1960s — selection schemes that would give an edge to Black people on account of past victimization and the lingering disabilities caused by historical mistreatment — many liberals resisted. Asked about CORE’s demands, President John F. Kennedy remarked that he did not think that society “can undo the past” and that it was a mistake “to begin to assign quotas on the basis of religion, or race, or color, or nationality.”

Kennedy’s comment that it would be a mistake “to begin” to assign quotas reflects a recurring misimpression that racial politics “begins” when those who have been marginalized make demands for equitable treatment.

When Kennedy spoke, unwritten but effective quotas had long existed that enabled white men to monopolize huge portions of the most influential and coveted positions in society. Yet it was only when facing protests against monopolization that he was moved to deplore status-based quotas.

This same dynamic has been recurrent in subsequent decades: Every major policy seeking to advance the position of Black people has been opposed on the grounds that it was race conscious, racially discriminatory, racially preferential and thus socially toxic. That racial affirmative action in university admissions and elsewhere has survived for so long is remarkable, given the powerful forces arrayed against it.

(continue reading)

[popculturelib]

Haunted States of America: Michigan

Haunts of the Upper Great Lakes (1997) by Dixie Franklin

A bit of superstition haunts most of us -- a remnant perhaps of the memories of chillingly scary ghost stories told to us in our childhood. Northern Wisconsin and Michigan's Upper Peninsula have more than their share of ghosts and haunted spaces: from Lotta, the mysterious 'shady lady of the night' in Hurley, Wisconsin; to the ghost of Mary Green, who apparently thinks she is still the captain of the Delta Queen, an elegant paddlewheel boat that sails the Mississippi River today; to the mystery light that appears along a lonely road near Paulding, Michigan; to the various shades and ghostly occupants of homes and inns on Mackinac Island and across the Upper Peninsula and northern Wisconsin. There are haunted lighthouses, haunted mansions and inns, and haunted woods -- all waiting for you in Haunts of the Upper Great Lakes!

Check out these other books about haunts in Michigan!

Haunted Houses of Michigan (1998) by Karen Hoisington Donaldson

Haunted Michigan: Recent Encounters with Active Spirits (2000) by Gerald S. Hunter

Ghost Stories of Michigan (2002) by Dan Asfar

The Browne Popular Culture Library (BPCL), founded in 1969, is the most comprehensive archive of its kind in the United States.  Our focus and mission is to acquire and preserve research materials on American Popular Culture (post 1876) for curricular and research use. Visit our website at https://www.bgsu.edu/library/pcl.html.

[dailyunsolvedmysteries]

Adam Richard Johnson 

Homeless man, Adam Richard Johnson, 36, was found dead in Minneapolis on June 17 2021. His previously frozen and severed head was found on a park bench with the word 'PERV' carved on it and left in broad daylight.

Over the next few weeks, his body parts were found gruesomely scattered in four separate locations.

A neighbor who was said to have made the grisly initial discovery near his home at the time that the human remains were in two bags, one black and one clear. A woman found a leg cut into several pieces put on display behind a local community center shortly after.

More remains were unearthed about a mile south of the first two discoveries, near West River Parkways and Franklin Avenue on June 22. A fourth set of remains was found in the Mississippi River in Minneapolis on July 4.

Johnson's death has been ruled a homicide, and Minneapolis police are still trying to find the killer.

Medical examiners were unable to determine a cause of death aside from dismemberment. 

A friend of Johnson said he struggled with mental health issues and addiction, but toxicology reports had him sober at his time of death.  

[cnu-newurbanism]

Modular cottage designed to be cute

Why do factory-built houses tend to look ugly? Why can’t they be cute, like a cottage that would fit into a walkable neighborhood? New urbanists have been wrestling with that question for many years. 

Bruce Tolar, an architect based in Ocean Springs, Mississippi, asks: “Would you rather have a little manufactured house with the wrong-sloped roof and no porch, or would you like one that's very similar in square footage but has a great roof and a little bit of nice detailing on the porch?”

The assumption is that many home buyers would prefer the attractive cottage, and such a modular house recently won an Urban Guild Award. Built in the Franklin Homes factory in North Alabama, the house prototype was placed in Tolar’s development of cottages in Ocean Springs, Mississippi. “We have a tenant who’s very happy with it,” he says. “Now that we’ve done it, we can do it again under the right conditions. We hope to make that happen.”

Read more.

[fatehbaz]

Big week for news about “mountain lions wandering back into historic habitat where they were once persecuted to extinction” in February 2023.

---

Central Texas:

Headline and screenshots from: Priscilla Aguirre. “Potential mountain lion sighting in San Antonio area raises awareness.” My San Antonio. 14 February 2023.

Excerpt from this article: Officials at the San Marcos Parks and Recreation Department are asking others and the surrounding areas to be cautious about potential mountain lions in Central Texas. Officials said the message comes after the department received a call about a potential sighting of a mountain lion at Upper Purgatory Creek Natural Area in San Marcos on Sunday, February 12. [...] In Central Texas, it’s extremely rare to see a mountain lion in person, according to a report from the San Antonio Express-News. [...] Only one mountain lion has been confirmed in Bexar County in the past decade, on November 24, 2013, according to TPWD. [End of excerpt.]

---

Great Plains and Nebraska:

Headline and screenshot from: Damon Bennett. “Nebraska mountain lion now looking for a name after 700-mile journey.” Lincoln Journal-Star. 16 February 2023.

Excerpt from this article: A Nebraska mountain lion that found itself in a sanctuary in Indiana after a 700-mile journey through four states is now looking for one last souvenir: a name. Back in the fall, the big cat made its way from the scenic Niobrara River valley all the way to suburban Springfield, Illinois, according to the GPS tracker that Nebraska Game and Parks had tagged it with a year prior. "A lot of people were watching him," said [the director of an “exotic feline rescue center”] in Center Point, Indiana, where the mountain lion has been since October. When the lion overstayed its welcome near Springfield, it was sedated by federal wildlife officials, who offered to return it to Nebraska. Nebraska declined.’ [...] "I'm incredibly impressed with this animal; he crossed both the Missouri and Mississippi rivers [...]." [End of excerpt.]

---

Ozarks and Missouri:

Headline and screenshot from: Julia Wilson. “Mountain lions in Missouri? We’re seeing more than usual this winter.” Columbia Missourian. 16 February 2023.

Excerpt from this article: Footage from a trail camera taken Jan. 3 confirmed that a roaming mountain lion made a rare appearance in northern Boone County. Since then, the Missouri Department of Conservation documented three additional sightings around the state last month — one in Callaway County, another in Montgomery County and a third that was hit by a vehicle south of St. Louis.  Reports of mountain lions, also known as cougars, pumas and panthers, have increased over the past decade in the state. Between 2013 and 2022, a total of 65 were counted around Missouri. Compare that to the years between 1994 and 2006, when only 12 were spotted. [...] The animals may come from an established colony in the Black Hills, cross Nebraska and wander into Missouri, according to the Kansas Department of Wildlife and Parks. Missouri’s extensive forest coverage, which includes 35% of state acreage, then becomes an ideal destination for the animals. Mountain lions have roamed Missouri since pre-settlement times. Their range crosses the western hemisphere from Canada to southern Chile. [...] Although they are seen across the state, over half of all sightings have been documented within 40 miles of Mark Twain National Forest in southeast Missouri. [...] Trophy hunting by early colonists wiped out most of the population east of the Mississippi River. [...] Except for the recent encounter in Franklin County where a lion was hit by a vehicle, the last documented human contact occurred in December 2021 during another vehicle collision. [End of excerpt.]

---

For reference:

[mapsontheweb]

Map of Missouri as it appeared in 1827, just six years after statehood (1821). Settlements are confined to the Missouri and Mississippi River Valleys. Visible is the Boone's Lick Road, from St. Charles to Franklin, and the dense civilization of the Boonslick Country including Columbia and Boonville. At the drawing of this map the Platte Purchase of northwestern Missouri had not yet occurred and many counties had yet to be formed.

Source: From the State Historical Society of Missouri in Columbia. Cropped from larger image at https://digital.shsmo.org/digital/collection/Maps/id/81/rec/17 Lithograph drawn by Carey, Henry Charles and published by H.C. Carey & I. Lea.

[dijidweeeb]

Old Alabama Maps Alabama was once Mississippi Territory

[thepictoblr]

someone in a ffxiv rp server im in asked like, what was the deal with ascians in like their mission post sundering and how did someone become an ascian (or rather how did the unsundered three make more ascians) and after a very good and concise explanation i went in to say "imagine waking up one day to find a dude in a cloak telling you were the re-incarnation of bejamin franklin and then gave you the memories of bejamin franklin", to which the person who explained then added "I mean that's p much how it goes, And then the Benjamin Franklin part of you gets told you gotta go retake the Mississippi" so in short if youre ever confused by ffxiv lore remember its really not that hard

[mybeingthere]

Loy Allen Bowlin (1909-1995), also known as The Original Rhinestone Cowboy, was an outsider artist from McComb, Mississippi. His artwork largely included bejeweling his clothing, Cadillac, home and even his dentures with thousands of rhinestones.

"Loy Bowlin’s bejeweled dentures—a different color rhinestone on each tooth, two front teeth framed in gold—were a prelude to his creative output. Born on a cattle ranch in Franklin County, Mississippi, in 1909, Bowlin was a shade-tree mechanic and former used car salesman, who, upon retiring, took on a persona as McComb, Mississippi’s “Original Rhinestone Cowboy,” with a sparkling Western suit for each day of the week and a highly ornamented blue 1967 Cadillac to match. Inspired by Glen Campbell’s 1975 hit recording, and, depending on what version of the story—divine intervention—Bowlin became compelled to adorn everything he touched. In doing so, he was able to move beyond a life previously characterized by divorce and depression and into a bold new existence that drew people closer to share in his sense of joy and wonder."

Continue reading

https://www.southerncultures.org/article/rhinestone-man/...

https://www.kohlerfoundation.org/.../major.../loy-bowlin/

[southernprideyall2]

The battle flag of the 2nd & 6th Missouri Infantry consolidated. This flag was carried throughout the Atlanta Campaign, Allatoona Pass, and was captured in the battle of Franklin. It is of the pattern manufactured by civilian contractors in Mobile and issued to the Department of Alabama, Mississippi and East Louisiana in late 1863.