As a young Mexican immigrant, Gabriel Nadales grew up feeling alienated and distant from the American Dream that brought his parents to this country seeking a better life for themselves and their family. In high school, he was attracted to a left-wing ideology and soon found himself caught up in the anarchist subculture—attending punk-rock concerts, dressing up in garish outfits, and making t-shirts, flags, and zines to fund his activism. He learned about anarchist history and got involved in “direct actions,” including destructive acts of mayhem. Above all, he was angry: angry at cops, angry at Wall Street, angry at corporations that despoiled the environment, angry at America itself. It was only after being exposed to works by classical liberal economists—such as Milton Friedman and Thomas Sowell—that Nadales began to reconsider his assumptions about capitalism and American society. Eventually he left Antifa and became a conservative activist, advising youth groups on campuses around the country on how to deal with left-wing students, radical faculty, and openly hostile administrators.

Explores the restrictive myth of the strong black woman through interviews, revealing the emotional and physical toll this "performance" can have.

The songs, dances, jokes, parodies, spoofs, and skits of blackface groups such as the Virginia Minstrels and Buckley's Serenaders became wildly popular in antebellum America. Behind the Burnt Cork Mask not only explores the racist practices of these entertainers but considers their performances as troubled representations of ethnicity, class, gender, and culture in the nineteenth century. William J. Mahar's unprecedented archival study of playbills, newspapers, sketches, monologues, and music engages new sources previously not considered in twentieth-century scholarship. More than any other study of its kind, Behind the Burnt Cork Mask investigates the relationships between blackface comedy and other Western genres and traditions; between the music of minstrel shows and its European sources; and between "popular" and "elite" constructions of culture. By locating minstrel performances within their complex sites of production, Mahar offers a significant reassessment of the historiography of the field. Behind the Burnt Cork Mask promises to redefine the study of blackface minstrelsy, charting new directions for future inquiries by scholars in American studies, popular culture, and musicology.

High above the city, a young guardian searches for the enemy...and finds love. In a city rife with evil, masked protectors secretly watch over the inhabitants, keeping the citizens safe while hiding their own identity. One young Sentinel, however, violates her oath and loses her heart to the woman she is charged to protect. By day, Pagan Osborne is a shy security specialist working in the family business. By night, as a Sentinel, she fulfils a greater family legacy and battles the criminals who threaten Chastilian's peace. Erith Baylor, a fiery young woman with her own secrets to hide, is drawn to Pagan's quiet charm and silent strength. But with so many secrets between them, their attraction could break the ties of family and finally reveal the truth behind the mask.

Joseph T. "Cap" Shaw enjoyed several distinguished careers-military man and champion fencer, among them-before he assumed the editorial chair of the most significant fiction magazine since The Strand gave the world the immortal Sherlock Holmes. Between 1926 and 1936, Shaw edited Black Mask magazine. The pioneering first stories of Carroll John Daly and Dashiell Hammett had just begun to appear in its pages. Shaw recognized in their hard-boiled treatment of the American crime story the potential for a new literary school. Working closely with his hand-picked writers, he pulled the magazine back from the brink of cancellation, and transformed the staid detective story into a vigorous and modern genre, discovering and championing important inheritors of this new tradition, among them, Raymond Chandler.But there is more to Joe Shaw than his editorial career. Here, in the first biography ever written of this editorial giant, his son relates the full fascinating story of the man behind the revolutionary editorial persona....

On Thanksgiving night, 1915, a small band of hooded men gathered atop Stone Mountain, an imposing granite butte just outside Atlanta. With a flag fluttering in the wind beside them, a Bible open to the twelfth chapter of Romans, and a flaming cross to light the night sky above, William Joseph Simmons and his disciples proclaimed themselves the new Knights of the Ku Klux Klan, named for the infamous secret order in which many of their fathers had served after the Civil War. Unsure of their footing in the New South and longing for the provincial, patriarchal world of the past, the men of the second Klan saw themselves as an army in training for a war between the races. They boasted that they had bonded into "an invisible phalanx...to stand as impregnable as a tower against every encroachment upon the white man's liberty...in the white man's country, under the white man's flag." Behind the Mask of Chivalry brings the "invisible phalanx" into broad daylight, culling from history the names, the life stories, and the driving passions of the anonymous Klansmen beneath the white hoods and robes. Using an unusual and rich cache of internal Klan records from Athens, Georgia, to anchor her observations, author Nancy MacLean combines a fine-grained portrait of a local Klan world with a penetrating analysis of the second Klan's ideas and politics nationwide. No other right-wing movement has ever achieved as much power as the Ku Klux Klan of the 1920s, and this book shows how and why it did. MacLean reveals that the movement mobilized its millions of American followers largely through campaigns waged over issues that today would be called "family values": Prohibition violation, premarital sex, lewd movies, anxieties about women's changing roles, and worries over waning parental authority. Neither elites nor "poor white trash," most of the Klan rank and file were married, middle-aged, and middle class. Local meetings, or klonklaves, featured readings of the minutes, plans for recruitment campaigns and Klan barbecues, and distribution of educational materials--Christ and Other Klansmen was one popular tome. Nonetheless, as mundane as proceedings often were at the local level, crusades over "morals" always operated in the service of the Klan's larger agenda of virulent racial hatred and middle-class revanchism. The men who deplored sex among young people and sought to restore the power of husbands and fathers were also sworn to reclaim the "white man's country," striving to take the vote from blacks and bar immigrants. Comparing the Klan to the European fascist movements that grew out of the crucible of the first World War, MacLean maintains that the remarkable scope and frenzy of the movement reflected less on members' power within their communities than on the challenges to that power posed by African Americans, Jews, Catholics, immigrants, and white women and youth who did not obey the Klan's canon of appropriate conduct. In vigilante terror, the Klan's night riders acted out their movement's brutal determination to maintain inherited hierarchies of race, class, and gender. Compellingly readable and impeccably researched, The Mask of Chivalry is an unforgettable investigation of a crucial era in American history, and the social conditions, cultural currents, and ordinary men that built this archetypal American reactionary movement.

A rare and very timely inside account of what it is like to be an Antifa activist from a former member who has since become a conservative.