The incredible story of the “King of the Pirates,” who burst from the waters of early Canada to become a terror of the seas. He was tall, dark, and handsome, he wore fine velvets and lace, and in four tumultuous years he tore the guts out of the Atlantic. Bartholomew Roberts took over four hundred ships and rarely lost a fight at sea in his short, spectacular reign. Black Flag of the North tells the story of Roberts’s dramatic life, from his boyhood in rural South Wales through his days at sea in the slave trade. He set the Atlantic aflame from the Grand Banks to Brazil, and by blood and fire won his reputation as the fearless and feared king of the pirates.
With surprising tales of vicious mutineers, imperial riches, and high-seas intrigue, Black Flags, Blue Waters is “rumbustious enough for the adventure-hungry” (Peter Lewis, San Francisco Chronicle). Set against the backdrop of the Age of Exploration, Black Flags, Blue Waters reveals the surprising history of American piracy’s “Golden Age” - spanning the late 1600s through the early 1700s - when lawless pirates plied the coastal waters of North America and beyond. “Deftly blending scholarship and drama” (Richard Zacks), best-selling author Eric Jay Dolin illustrates how American colonists at first supported these outrageous pirates in an early display of solidarity against the Crown, and then violently opposed them. Through engrossing episodes of roguish glamour and extreme brutality, Dolin depicts the star pirates of this period, among them the towering Blackbeard, the ill-fated Captain Kidd, and sadistic Edward Low, who delighted in torturing his prey. Upending popular misconceptions and cartoonish stereotypes, Black Flags, Blue Waters is a “tour de force history” (Michael Pierce, Midwestern Rewind) of the seafaring outlaws whose raids reflect the precarious nature of American colonial life.
Black Flag over Dixie: Racial Atrocities and Reprisals in the Civil War highlights the central role that race played in the Civil War by examining some of the ugliest incidents that played out on its battlefields. Challenging the American public’s perception of the Civil War as a chivalrous family quarrel, twelve rising and prominent historians show the conflict to be a wrenching social revolution whose bloody excesses were exacerbated by racial hatred. Edited by Gregory J. W. Urwin, this compelling volume focuses on the tendency of Confederate troops to murder black Union soldiers and runaway slaves and divulges the details of black retaliation and the resulting cycle of fear and violence that poisoned race relations during Reconstruction. In a powerful introduction to the collection, Urwin reminds readers that the Civil War was both a social and a racial revolution. As the heirs and defenders of a slave society’s ideology, Confederates considered African Americans to be savages who were incapable of waging war in a civilized fashion. Ironically, this conviction caused white Southerners to behave savagely themselves. Under the threat of Union retaliation, the Confederate government backed away from failing to treat the white officers and black enlisted men of the United States Colored Troops as legitimate combatants. Nevertheless, many rebel commands adopted a no-prisoners policy in the field. When the Union’s black defenders responded in kind, the Civil War descended to a level of inhumanity that most Americans prefer to forget. In addition to covering the war’s most notorious massacres at Olustee, Fort Pillow, Poison Spring, and the Crater, Black Flag over Dixie examines the responses of Union soldiers and politicians to these disturbing and unpleasant events, as well as the military, legal, and moral considerations that sometimes deterred Confederates from killing all black Federals who fell into their hands. Twenty photographs and a map of massacre and reprisal sites accompany the volume. The contributors are Gregory J. W. Urwin, Anne J. Bailey, Howard C. Westwood, James G. Hollandsworth Jr., David J. Coles, Albert Castel, Derek W. Frisby, Weymouth T. Jordan Jr., Gerald W. Thomas, Bryce A. Suderow, Chad L. Williams, and Mark Grimsley.
Did American racism originate in the liberal North? An inquiry into the system of institutionalized racism created by Northern Jim Crow Jim Crow was not a regional sickness, it was a national cancer. Even at the high point of twentieth century liberalism in the North, Jim Crow racism hid in plain sight. Perpetuated by colorblind arguments about “cultures of poverty,” policies focused more on black criminality than black equality. Procedures that diverted resources in education, housing, and jobs away from poor black people turned ghettos and prisons into social pandemics. Americans in the North made this history. They tried to unmake it, too. Liberalism, rather than lighting the way to vanquish the darkness of the Jim Crow North gave racism new and complex places to hide. The twelve original essays in this anthology unveil Jim Crow’s many strange careers in the North. They accomplish two goals: first, they show how the Jim Crow North worked as a system to maintain social, economic, and political inequality in the nation’s most liberal places; and second, they chronicle how activists worked to undo the legal, economic, and social inequities born of Northern Jim Crow policies, practices, and ideas. The book ultimately dispels the myth that the South was the birthplace of American racism, and presents a compelling argument that American racism actually originated in the North.
WINNER OF THE PULITZER PRIZE • In a thrilling dramatic narrative, the award-winning reporter traces how the strain of militant Islam behind ISIS first arose in a remote Jordanian prison and spread with the unwitting aid of two American presidents. With a new Afterword Drawing on unique high-level access to CIA and Jordanian sources, Warrick weaves gripping, moment-by-moment operational details with the perspectives of diplomats and spies, generals and heads of state, many of whom foresaw a menace worse than al Qaeda and tried desperately to stop it. Black Flags is a brilliant and definitive history that reveals the long arc of today’s most dangerous extremist threat.
On the eve of Germany's surrender in May 1945, Grossadmiral Karl Dönitz commanded thousands of loyal and active men of the U-boat service. Still fully armed and unbroken in morale, enclaves of these men occupied bases stretching from Norway to France, where cadres of U-boat men fought on in ports that defied besieging Allied troops to the last. At sea U-boats still operated on a war footing around Britain, the coasts of the United States and as far as Malaya. Following the agreement to surrender, these large formations needed to be disarmed - often by markedly inferior forces - and the boats at sea located and escorted into the harbours of their erstwhile enemies. Neither side knew entirely what to expect, and many of the encounters were tense; in some cases there were unsavoury incidents, and stories of worse. For many Allied personnel it was their first glimpse of the dreaded U-boat menace and both sides were forced to exercise considerable restraint to avoid compromising the terms of Germany's surrender. One of the last but most dramatic acts of the naval war, the story of how the surrender was handled has never been treated at length before. This book uncovers much new material about the process itself and the ruthless aftermath for both the crews and their boats.
“The Bars represent me finding my people. We were like a tribe. Together we are strong whereas before we felt weak and ostracized.” Barred for Life is a photo documentary cataloging the legacy of Punk Rock pioneers Black Flag, through stories, interviews, and photographs of diehard fans who wear their iconic logo, The Bars, conspicuously tattooed upon their skin. Author Stewart Ebersole provides a personal narrative describing what made the existence of Punk Rock such an important facet of his and many other people’s lives, and the role that Black Flag’s actions and music played in soundtracking the ups and downs of living as cultural outsiders. “The Bars say ‘I’m not one of them,’ and it also lets the right people know that I am one of them.” Stark black-and-white portraits provide visual testimony to the thesis that Black Flag’s factual Punk-pioneering role and their hyper-distilled mythology are now more prevalent worldwide then when the band was in service. An extensive tour of North America and Western Europe documents dedicated fans bearing Bars-on-skin and other Black Flag iconography. Nearly four hundred “Barred” fans lined up, smiled/frowned for the camera, and issued their stories for the permanent record. “It is the black flag of anarchism, and that is the opposite of the white flag of surrender.” Barred for Life expands its own scope by presenting interviews with former Black Flag members and those close to the band. Interviews with alumni Dez Cadena, Ron Reyes, Kira Roessler, Keith Morris, and Chuck Dukowski, as well as photographers Glen E. Friedman and Ed Colver, and the man responsible for tattooing The Bars on more than a few Black Flag players, Rick Spellman, round out and spotlight aspects of Black Flag’s vicious live performances, forward-thinking work ethic, and indisputable reputation for acting as both champions and iconoclastic destroyers of the Punk Rock culture they helped to create. “When I see The Bars I think ‘Black Flag the band,’ but they also represent an entire movement of people that are not going to conform. They are part of a culture of people that stand up for themselves.”
In recent years, the Confederate flag has become as much a news item as a Civil War relic. Intense public debates have erupted over Confederate flags flying atop state capitols, being incorporated into state flags, waving from dormitory windows, or adorning the T-shirts and jeans of public school children. To some, this piece of cloth is a symbol of white supremacy and enduring racial injustice; to others, it represents a rich Southern heritage and an essential link to a glorious past. Polarizing Americans, these flag wars reveal the profound--and still unhealed--schisms that have plagued the country since the Civil War. The Confederate Battle Flag is the first comprehensive history of this contested symbol. Transcending conventional partisanship, John Coski reveals the flag's origins as one of many banners unfurled on the battlefields of the Civil War. He shows how it emerged as the preeminent representation of the Confederacy and was transformed into a cultural icon from Reconstruction on, becoming an aggressively racist symbol only after World War II and during the Civil Rights movement. We gain unique insight into the fine line between the flag's use as a historical emblem and as an invocation of the Confederate nation and all it stood for. Pursuing the flag's conflicting meanings, Coski suggests how this provocative artifact, which has been viewed with pride, fear, anger, nostalgia, and disgust, might ultimately provide Americans with the common ground of a shared and complex history.
They were the pioneers of American hardcore, forming in California in 1978 and splitting up 8 years later leaving behind them a trail of blood, carnage and brutal, brilliant music. Throughout the years they fought with the police, record industry and their own fans. This is the band's story from the inside, drawing upon exclusive interviews with the group's members, their contemporaries and the groups who were inspired by them. It's also the story of American hardcore music, from the perspective of the group who did more to take the sound to the clubs, squats and community halls of America than any other.
During the Civil War, Union and Confederate politicians, military commanders, everyday soldiers, and civilians claimed their approach to the conflict was civilized, in keeping with centuries of military tradition meant to restrain violence and preserve national honor. One hallmark of civilized warfare was a highly ritualized approach to retaliation. This ritual provided a forum to accuse the enemy of excessive behavior, to negotiate redress according to the laws of war, and to appeal to the judgment of other civilized nations. As the war progressed, Northerners and Southerners feared they were losing their essential identity as civilized, and the attention to retaliation grew more intense. When Black soldiers joined the Union army in campaigns in South Carolina, Georgia, and Florida, raiding plantations and liberating enslaved people, Confederates argued the war had become a servile insurrection. And when Confederates massacred Black troops after battle, killed white Union foragers after capture, and used prisoners of war as human shields, Federals thought their enemy raised the black flag and embraced savagery. Blending military and cultural history, Lorien Foote's rich and insightful book sheds light on how Americans fought over what it meant to be civilized and who should be extended the protections of a civilized world.
