From White To Blue And Black

Like cotton, indigo has defied its humble origins. Left alone it might have been a regional plant with minimal reach, a localized way of dyeing textiles, paper, and other goods with a bit of blue. But when blue became the most popular color for the textiles that Britain turned out in large quantities in the eighteenth century, the South Carolina indigo that colored most of this cloth became a major component in transatlantic commodity chains. In Red, White, and Black Make Blue, Andrea Feeser tells the stories of all the peoples who made indigo a key part of the colonial South Carolina experience as she explores indigo's relationships to land use, slave labor, textile production and use, sartorial expression, and fortune building. In the eighteenth century, indigo played a central role in the development of South Carolina. The popularity of the color blue among the upper and lower classes ensured a high demand for indigo, and the climate in the region proved sound for its cultivation. Cheap labor by slaves—both black and Native American—made commoditization of indigo possible. And due to land grabs by colonists from the enslaved or expelled indigenous peoples, the expansion into the backcountry made plenty of land available on which to cultivate the crop. Feeser recounts specific histories—uncovered for the first time during her research—of how the Native Americans and African slaves made the success of indigo in South Carolina possible. She also emphasizes the material culture around particular objects, including maps, prints, paintings, and clothing. Red, White, and Black Make Blue is a fraught and compelling history of both exploitation and empowerment, revealing the legacy of a modest plant with an outsized impact.

Blue In Black and White, by Sgt. Pete Thoshinsky, is a dramatic new photographic collection, with narratives, featuring members of the San Francisco Police Department; a chronicle of life and law enforcement on the streets of San Francisco. Sgt. Pete Thoshinsky, a 22-year veteran of the SFPD, is well-known for his dramatic photographic images of San Francisco law enforcement, with a permanent display at the Hall of Justice, 4th Floor. This gorgeous, 10 x 10"" hardbound volume contains nearly 200 pages of clear, easy-to-read text and detailed black and white images ? the perfect gift for all SFPD members, retirees and law enforcement collectors. ""

Both born in 1942, William Drennen and Kojo Jones grew up a mile from each other in Charleston, West Virginia, each witnessing a separate side of the racial politics of segregation and desegregation in the Appalachian state. Editor Johnson (English, Marshall U.) has combined the sections of their me

Ruth Tucker recounts a harrowing story of abuse at the hands of her husband—a well-educated, charming preacher no less—in hope that her story would help other women caught in a cycle of domestic violence and offer a balanced biblical approach to counter such abuse for pastors and counselors. Weaving together her shocking story, stories of other women, and powerful stories of husbands who truly have demonstrated Christ’s love to their wives, with reflection on biblical, theological, historical, and contemporary issues surrounding domestic violence, she makes a compelling case for mutuality in marriage and helps women and men become more aware of potential dangers in a doctrine of male headship.

WAR NEWS (originally published in 1999 as Blue & Gray in Black & White) is an exploration of the individual and collective efforts of newspaper journalists during the Civil War. As eyewitnesses to one of the most memorable conflicts in history, they left a record that is sometimes brilliant but, at other times, marred by shoddy journalism, sensationalism, and self-serving reporting. They were, however, the American public's primary source of information about the battles that were tearing the nation apart. This book focuses on the personalities, politics, and rivalries of editors; the efforts of newspapers to influence military appointments, strategy, and tactics; advances in printing technology; formal and informal censorship, the suppression of dissident newspapers, and, most of all, the war correspondents themselves.

The Fourth of July, Thanksgiving, Washington's Birthday, Memorial Day, Columbus Day, Labor Day, Martin Luther King's Birthday, and other celebrations matter to Americans and reflect the state of American local and national politics. Commemorations of cataclysmic events and light, apparently trivial observances mirror American political and cultural life. Both reveal much about the material conditions of the United States and its citizens' identities, historical consciousness, and political attitudes. Lying dormant within these festivals is the potential for political consequence, controversy, even transformation. American political fetes remain works in progress, as Americans use historical celebrations as occasions to reinvent themselves and their nation, often with surprising results. In six engaging chapters 'assaying particular political holidays over the course of their histories, Red, White, and Blue Letter Days examines how Americans have shaped and been shaped by their calendar. Matthew Dennis explores this vast political and cultural terrain, charting how Americans defined their identities through celebration. Independence Day invited African Americans to demand the equality promised in the Declaration of Independence, for example, just as Columbus Day—celebrating the Italian, Catholic explorer—helped immigrants proclaim their legitimacy as Americans. Native Americans too could use public holidays, such as Thanksgiving or Veterans Day, to express dissent or demonstrate their claims to citizenship. Merchants and advertisers colonized the American calendar, moving in to sell their products by linking them, often tenuously, with holiday occasions or casting consumption as a patriotic act.

Sorry, everypony, it seems our printer ran out of pink, purple, yellow, green, red—uh, well, all the colors except black, white, and blue! What to do with all this blue? Hmm... OH! Drumroll please...In Misty’s first comic appearance, everypony’s favorite blue pony is in Maretime Bay for a sleepover with the Mane 5! But when everypony wakes up...all the color is gone! It kinda looks like Violette and Skye’s favorite old TV show, Betwitched—at least the years it was in black and white—but everypony can still see blue for some reason. Determined to make the best of a gloomy situation, Vi and Skye put together a plan to spread cheer. Meanwhile, Izzy helps the distraught Misty see the beauty in messy situations using the power of unicycling! Join us for a magical one-shot of color calamity before returning to your regularly scheduled programs.