Drawing upon more than 200 eyewitness accounts, this work chronicles the largest troop surrender of the Civil War, at Greensboro--one of the most confusing, frustrating and tension-filled events of the war. Long overshadowed by Appomattox, this event was equally important in ending the war, and is much more representative of how most Americans in 1865 experienced the conflict's end. The book includes a timeline, organizational charts, an order of battle, maps, and illustrations. It also uses many unpublished accounts and provides information on Confederate campsites that have been lost to development and neglect.

Although antebellum African Americans were sometimes allowed to attend Quaker meetings, they were almost never admitted to full meeting membership, as was Miles Lassiter. His story illuminates the unfolding of the 19th-century color line into the 20th. Margo Williams had only a handful of stories and a few names her mother remembered from her childhood about her family's home in Asheboro, North Carolina. Her research would soon help her to make contact with long lost relatives and a pilgrimage "home" with her mother in 1982. Little did she know she would discover a large loving family and a Quaker ancestor -- a Black Quaker ancestor. -- Publisher's description.

Continuing from Volume I, Volume II intersperses numerous soldiers’ letters with those from home. The issue of slavery from both the owners and individuals is brought forth. Did colored men really serve as Confederate soldiers? Did free black men? Union soldiers described southern women as defi ant, beautiful, crude, and pitiful. Read of women aboard blockade-runners, the fall of Wilmington, Sherman’s march, Stoneman’s western raiders, and the end of the war. Did any civilians die due to these raids? Did they idly sit by as their lives and homes were destroyed? The war did come to their doorstep during the second half of the confl ict. Both Volume I and II tell something from each of the state’s 87 counties. Perhaps you may fi nd information about your ancestor among these pages. Information from period newspapers, as well as mostly unpublished letters, tell their stories.

Contrary to popular belief, the roots of American country music do not lie solely on southern farms or in mountain hollows. Rather, much of this music recorded before World War II emerged from the bustling cities and towns of the Piedmont South. No group contributed more to the commercialization of early country music than southern factory workers. In Linthead Stomp, Patrick Huber explores the origins and development of this music in the Piedmont's mill villages. Huber offers vivid portraits of a colorful cast of Piedmont millhand musicians, including Fiddlin' John Carson, Charlie Poole, Dave McCarn, and the Dixon Brothers, and considers the impact that urban living, industrial work, and mass culture had on their lives and music. Drawing on a broad range of sources, including rare 78-rpm recordings and unpublished interviews, Huber reveals how the country music recorded between 1922 and 1942 was just as modern as the jazz music of the same era. Linthead Stomp celebrates the Piedmont millhand fiddlers, guitarists, and banjo pickers who combined the collective memories of the rural countryside with the upheavals of urban-industrial life to create a distinctive American music that spoke to the changing realities of the twentieth-century South.