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PostPosted: Sat Oct 04, 2025 11:58 pm 
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EPISODE 1.24 -
April 29, 2005

Should the Stars be Barred?
Guest: John Coski

John M. Coski of the Museum of the Confederacy talks about the subject of his book, The Confederate Battle Flag: America's Most Embattled Emblem.


Blake's Review:
Arguably the finest episode of Season 1 so far!

This is a really interesting interview with John Coski dealing with the history of Confederate flags and the role they played in the Civil War and beyond. Coski's expertise and studies in this field are immediately apparent and his views and arguments are spot on. It's interesting that William C. Davis mentions Coski's work in an earlier episode which prompts Gerry to write his name down and say he must check out his book on the Confederate battle flag. Gerry must have been very impressed because here Coski is just two months later on the show.

The conversation begins with the usual chat about Coski's life and education. Coski ends up at the Museum of the Confederacy in Richmond in 1988 and there are the origins of how his study of the Confederate flag begins. The Museum has over 550 Confederate wartime flags (as of 2005 when this was recorded) and spends a lot of money and time preserving them. Coski says that visitors and the media really began in the early 90s to ask hard questions about why the Confederate flag needed to be displayed on state capitals and on government buildings or state flags. "We decided the greatest service we could render, rather than simply throwing yet more opinions into the cacophony of opinions, is to present historical background and research and perspective. How did it come to have so many diverse, conflicting meanings? What are the historical origins of those? Why is it that so many different people have so many different conflicting opinions about the flag?"

From here Coski discusses the confusion many people have about defining what a Confederate flag really is. To the average person the Stars and Bars St. Andrews Cross is the Confederate flag. In reality, that is simply the Confederate naval flag technically. The actual official Confederate flags are often unrecognizable to people unfamiliar with the war and history. But, generally, when people refer to the Confederate flag, they mean the popular Stars and Bars design we see most often.

He then talks about the very strong emotional and psychological attachment that soldiers, on both sides, placed on their battle flags. In the case of southerners, these flags came to represent a bond with those who fought and died protecting or following the flags. When the war ended the flags were hidden away and preserved when possible as war mementos and later use in commemorations and funerals. Generally, the former Confederates did not display the flags for many years following the war.

Coski states that the Confederate flags remained largely hidden away until the reconciliation of the 1890s in which North and South began to heal old wounds in the wake of the Spanish-American War. The reasons for this reconciliation are complex and Coski mentions David Blight's Race and Reunion as being a great book to learn more about those issues. They then skip ahead further in time to the post-WW2 era where southern fraternities and colleges begin to adopt the Confederate flag for various reasons, from simply celebrating being "southern" to using them as props for football games. They talk about UVA travelling north to play Penn State and bringing thousands of Confederate flags with them for the "third invasion" of the Union. "By this point the flag had a campus presence and had begun to establish one of its meanings today, as a kind of shorthand, immediately recognizable, logo of 'The South.' And the same was true in World War Two where southern-born servicemen wanted to say, 'I'm American but I'm also a southerner' with the battle flags. And I think it was through these mediums that it started entering the popular culture. But it also, at the same time, started entering the political culture." For the south, it became a way to object and resist the efforts of desegregation which began in the post-WW2 era as well (and was used by the Dixiecrats which, Coski noted, were mostly youthful college students across the south). "That's the way they interpreted that symbol, as opposition to federal interference."

The interview continues to be really interesting as they then cut to the chase and discuss whether people should, or shouldn't, be offended by the Confederate flag. Here Coski gives a really good answer. Gerry asks whether Coski is being neutral on a moral issue that he needs to take a stand on. Coski replies, "I think that almost everyone who is involved in this issue over the years has a lot of opinions without a lot of perspective. I'm following the evidence. I am not staking out a neutral position, and wouldn't, if the evidence led inexorably and definitively to one viewpoint or the other. The moral issue here is, of course, whether or not this is a symbol of racism or a symbol of heritage. This issue is often framed as a dichotomy. But the evidence is not unambiguous and it also reflects my personal proclivity about the study of history and going where the evidence takes me and here specifically it is a very complex issue, it isn't black or white. It is a moral issue perhaps but is not a moral issue that can be discussed safely and accurately in dichotomous right or wrong, black and white terms. And to do so is wrong, and in a sense, I suppose, immoral. And it certainly is unproductive most importantly. We tend to want to discuss this in terms of heritage or hate, clearly both are accurate.... if we choose one over the other we are oversimplifying what it a very complex history. We are making something clear which, in reality, is ambiguous and I think that's wrong."

It is a fascinating discussion which Coski continues to make more interesting with very solid and well argued answers again and again. There are too many great quotes here to write them all. Towards the end they discuss a recent court case talking about whether the Confederate flag can be worn in schools. One of the lawyers urged everyone to recognize the flag has multiple meanings and that the issue comes down to those issues which brought on the Civil War of minority and majority rights. "Do we let a majority fly a flag that may offend a minority, or do we let a minority's sensitivities define what the majority can do? Either solution has obvious problems." They have a great talk about symbolism and the power of symbols. Coski also states that many people display prejudice against those flying the flags because they assume the person doing so is prejudice. "If I have a Confederate flag on my shirt and you think it is a racist symbol, I should recognize that you have a reason, and a very good historically grounded reason, for viewing it as a racist symbol. Because, by God, it has been used as a racist symbol. But please don't do me the disservice of automatically assuming that I am racist because that's your opinion. It's not only counterproductive, it's not very polite, or charitable. And I think why this debate is so divisive is that we tend to polarize things that don't need to be polarized and are at times very uncharitable towards each other and we think the worst of each other's motives."

No doubt the most intellectually interesting episode of Season 1. I am going to have to read Coski's book for sure!

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PostPosted: Mon Oct 06, 2025 10:40 pm 
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EPISODE 1.25 -
May 20, 2005

North and South
Guest: Keith Poulter

Join CWTR for a fascinating conversation with Keith Poulter, ex-British intelligence, former wargame designer, and the founder and publisher of North & South magazine.


Blake's Review:
Poulter is the founder of North and South Magazine (still around in 2025) and tells the story of why he founded the magazine in the 90s when there were already so many other Civil War magazines available. Spoiler Alert: He found editorial errors and poor writing in them which he felt were unforgivable.

Overall, the interview isn't very memorable as they spend the majority of the time discussing publishing and how Poulter founded the magazine. It's not that the interview is a poor one, though the third segment dragged on as Gerry seemed to run out of questions, it's that it simply doesn't go very deep on the few issues which might be of interest to a Civil War audience.

Feel free to skip this one.

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PostPosted: Mon Oct 06, 2025 10:51 pm 
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EPISODE 1.26 -
May 27, 2005

Behind the Scenes at the Lincoln Museum
Guest: Thomas Schwartz

Thomas F. Schwartz, Illinois State Historian, describes the creation of the new Abraham Lincoln Presidential Museum in Springfield, Illinois.


Blake's Review:
I was kind of looking forward to this one as the topic of the Lincoln Museum was a hot one in some earlier episodes (see the John Simon interview!). But this episode, and the guest, were a total dud.

The interview never seemed to go anywhere and the first segment seemed to drag on forever as they discussed what a state librarian does, how they archive material, and other such things. Some may find this interesting, but I'm not one of them. Schwartz was also not the most engaging speaker and he seemed to drag every answer out for an additional couple hundred words when far fewer would get the same point across. In the second segment they discussed Illinois politics of the 1990s and how they influenced Schwartz's role at the library. I had to skip ahead because, really, who cares? In the final segment I was still hoping for some sort of life from Schwartz, perhaps if Gerry asked about Simon's comments. But instead Schwartz just talked about how museums should be built assuming the visitor has no prior knowledge of the material in the museum. Therefore it is incumbent of the museum to educate the visitors on all aspects of the material they are presenting. I found this a poor viewpoint. I've never gone to a museum that I didn't have an existing interest and knowledge about beforehand. Now if someone dragged me to a Himalayan Throat-Singing Museum, yeah, I'd be lost. But not many people just happen to stop by Springfield, Illinois, on a whim and randomly decide to visit the Lincoln Museum without ever hearing of Lincoln before. I get the point Schwartz is trying to make but I agree more with Simon's view that museums should assume the visitors have a working knowledge of the subject beforehand.

Another forgettable episode.

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PostPosted: Tue Oct 07, 2025 12:56 pm 
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Blake wrote:
Himalayan Throat-Singing Museum


Congratulations on the most random reference possible :lol:

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PostPosted: Wed Oct 08, 2025 3:21 pm 
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EPISODE 1.27 -
June 3, 2005

USS Arizona Civil War Gunboat Foundation
Guest: Ronald Christopher

Ronald Christopher, Chairman and Project Manager of the USS Arizona Civil War Gunboat Foundation.


Blake's Review:
Another dud of an episode. This one I shut off about 20 minutes into it. I am not sure if Gerry just didn't know much about the topic beforehand, or if he assumed that Christopher had more material on the subject than he did, or if the name USS Arizona (being the first ship named Arizona which would go on as a name to great fame in WW2) intrigued him enough to book the guest, but this was an awful interview. The Civil War USS Arizona was a minor gunboat which saw some very minor action on the various western rivers and with blockading duty on the Texas coast. It eventually sunk after a fire on deck broke out on the Mississippi River. Christopher's interview was a bit painful to listen to as Gerry asked a number of questions which the guest hadn't considered before which left some glaring holes in the story. And the story itself was pretty weak and disinteresting (at least to me). With no signs the interview was going to recover I just went ahead and skipped the second half of it.

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PostPosted: Thu Oct 09, 2025 1:45 pm 
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EPISODE 1.28 -
June 10, 2005

Picturing the Past
Guest: Don Troiani

One of the leaders of the late 20th century revival of Civil War art is Don Troiani. His work is noted for its attention to accuracy of detail, a quality he brought to the movie Cold Mountain as a uniform consultant. Find out how this artist combines research and imagination to bring Civil War scenes to light.


Blake's Review:
I was looking forward to this one as Troiani's artwork is some of the best known of the historical art works in circulation today.

They began with an amusing chat about Troiani's training. He attended the Pennsylvania Academy of Art from 1967 to 1971. But, Troiani says, "they don't teach you much in art school anymore, so I'm basically self-taught." Gerry asks what they did teach in art school. "Well, you worry about not hurting feelings, and usually criticism was sort of considered destructive of your creativity." Gerry sarcastically responds, "So actually learning something might stifle your imagination. Well, we don't want to do that, certainly. We don't want to injure anyone's self-esteem by suggesting they don't already know everything." Skip ahead 20 years and the situation is infinitely worse at universities I daresay.

But this was the first hint that Troiani was going to have a sort of rebellious and contrary attitude towards those in authority. Maybe I had expected him to be more like Bob Ross ("we don't make mistakes, we have happy little accidents") but he turned out to be more of a McClellan-type.

Troiani talks about the very painstaking level of detail he demands when painting historical scenes. He is determined to get every aspect right (what color the jackets were, what cut they were, what buttons they would have, ect). He talks about keeping extensive files on every aspect of a unit when he runs across it (did an adjutant ride a brown horse or a gray horse? what color undershirt did he wear? what type of sword was used?). He also goes through a lot of effort to correctly portray the gun types of each unit and how the men would have carried them. A ton of details which, he admits, most viewers don't care about but that he does.

Gerry asked, since he strives for such accuracy, why are his scenes often bloodless? A valid question which Troiani bristled at a bit. They then had a prolonged discussion about realism in paintings. Troiani admits his pictures are less bloody than they should be (I could make them bloodier, he admits) but that that's because people don't want to see bloody gore and hang it in their living room. Fair enough. I think Gerry pushed the point a little too much and soon Troiani was a bit defensive, he felt that realism can still be achieved without blood and gore. But then, the bottom line which Troiani admits is behind it all, is sales. He could produce more realistic work but it wouldn't sell. People prefer the more sanitized visions of the war and they simply sell better. I always enjoy when artists admit that they are in business to make money because those that say they are unconcerned with money are flat-out lying or already so rich they can afford to pretend otherwise (personal opinion).

Troiani also talks being a great admirer of Chamberlain and how the movie Gettysburg influenced the way people want to see Chamberlain now. Troiani then struggles giving people what they want (Jeff Daniels) and what was historically accurate (a full-bearded Chamberlain often). The influence of movies and pop-culture on Civil War art is undeniable.

He also discusses his problems with publishers and other artistic endeavors some. I get the feeling Troiani is pretty demanding that the details be as accurate as possible and anything less is unacceptable. Nothing wrong with that but I am sure he's made a few enemies as a result of that.

What does he think of other contemporary artists of the Civil War? Not much. He had a good word for Keith Rocco but generally felt that too many artists failed to capture the correct details for his liking.

Not a bad interview if you enjoy the artwork of Troiani and are interesting in hearing how he approaches painting scenes.

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PostPosted: Mon Oct 13, 2025 1:22 pm 
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EPISODE 1.29 -
June 17, 2005

Picturing the Past
Guest: Eric Wittenberg

From the novelty of the Sixth Pennsylvania Cavalry (Rush's Lancers), to the stand of John Buford at Gettysburg, to a sharply critical view of Phil Sheridan, Eric J. Wittenberg offers a variety of interesting views on the men who led and served in the Union cavalry. Union cavalry expert Eric J. Wittenberg, author of Little Phil: A Reassessment of the Civil War Leadership of Gen. Philip H. Sheridan.


Blake's Review:
The conversation begins with the usual small talk about how Eric grew interested in Civil War history. They then shift to Eric's interest in the Union Cavalry and the role it played in the Civil War.

The first cavalry related issues they discuss is the unusual history of the 6th Pennsylvania Cavalry, or Rush's Lancers, named after it's colonel Richard Rush. Rush, the grandson of Benjamin Rush, signer of the Declaration of Independence, was a West Point graduate of the class of 1846. In November of 1861, McClellan asked Rush about arming his cavalry regiment with lancers which would be nine feet long and have 11-inch three pointed blades on one end and a ferrule on the other. The unit did make three cavalry charges with the lances during the war that Eric can confirm through his research. He states the weapons did achieve their purpose of striking fear into infantrymen and causing them to rout rather than attempt to tangle with the lances in an open field. But by 1863 the War Department chose to rearm the regiment with carbines which were more practical as the uses of cavalry evolved during the war.

Gerry asks why the Union cavalry was perpetually behind the Confederate cavalry at the start of the war.

"Well, there's a lot of reasons for that, and they're really fairly complicated. First and foremost, Winfield Scott himself was vigorously opposed to the idea of raising volunteer cavalry regiments." Eric states that the conventional wisdom was that a good cavalry unit would take three to five years to train and that many people thought the war would be over in a shorter period of time. "Mix in the fact that it typically cost up to $300,000 to mount and equip the cavalry regiment." Winfield Scott wanted to only use the regular U.S. Cavalry in 1861. But this was soon realized to be inadequate and people like Carl Schurz acted to raise the first Federal volunteer cavalry regiment, the 1st NY Lincoln Volunteers. Another reason the Confederates has the advantage was that the Confederacy simply had more natural horsemen. The Confederates were more likely to bring their own horses into the service and already knew how to care for them. The Federal volunteers had to learn all of that. A number of high-ranking Confederate leaders were also former cavalry officers, like Lee. The Confederate leaders used their cavalry much better in the early part of the war with men like Lee in command who could utilize the skills of Jeb Stuart to terrorize the poorly led Union cavalry.

Eric also talks about how the Federals attached their cavalry to the infantry units and used as orderlies and messengers as opposed scouting, screening, and reconnaissance. "I think of all the army commanders the Union had, John Pope probably best understood the role that cavalry could play. And it was Pope who actually first brigaded volunteer cavalry units in the East during what became the Second Manassas Campaign, and they did very well indeed." McClellan would later create a full cavalry corps for the Antietam Campaign but it was Hooker who fully implemented the idea when he took over in 1863 and this is "when the tide really began to turn."

Eric talks about John Buford's efforts at recon during the Second Manassas Campaign as being "some of the finest recon work done in all of the American Civil War. Buford, himself, sat up on a bluff at Gainesville and personally counted the regiments of Longstreet's Corps marching by on their way to the battlefield of Second Manassas. He sent the intel on to General Ricketts, who sent it on to Irvin McDowell, who for reasons which remain a mystery, stuck the dispatches in pocket and sat on it for a number of hours before he bothered to pass it on to Pope, and of course Pope didn't believe him. But that's certainly not Buford's fault that those things happened but the point is he did some of the most brilliant scouting and recon work done during the war and this was as early as August 1862."

They then discuss weapon technology and how it effected the usage of cavalry and their tactics with repeating rifles.

"Who are the best of the Union cavalry leaders", Gerry asks. Eric replies, "there is no doubt in my mind that the finest Union cavalry officer produced in all of the war was John Buford." Buford has pre-war service in the dragoons which gave him experience going into the war in cavalry tactics both mounted and dismounted. "Buford proved his merit on the first day of the Battle of Gettysburg conducting an absolutely textbook covering force action which is still taught in classrooms today." He goes on to talk about how the tactics of Buford were adopted by NATO during the Cold War and incorporated into envisioned battle plans against the Soviets.

They then talk about Custer. Eric discusses the problem with viewing Custer is that his legacy in the Civil War is overshadowed by what happened after it. But that his Civil War service is viewed by itself, "he may very well be remembered as the greatest cavalryman America ever produced. The guy had an ability to inspire men to follow his lead. And he has this perception of being reckless, and in some ways he was, but he had the courage of a lion and his men loved him and they, literally, would have followed him into hell at least during the Civil War." He discusses Custer's pros and cons and admits, "Custer is a bit of a double-edged sword. He is a glory hunter, he is a guy who was interested in promoting himself and advancing his own career. At the same time though he was a guy that his men loved. And that's an interesting combination because there certainly were plenty of officers who the men in the ranks despised and Custer was rarely one of those men."

Turning to Pleasonton, Eric and Gerry discuss why Pleasonton has been all but forgotten. Pleasonton, simply, was a lead from the rear kind of guy, terrible self-promoter, could not tell the truth, not very brave, "a conniver, a schemer, and he stabbed George Meade in the back."

What about Sheridan? "I think it's fairly well-known to those familiar with my work that I am not an admirer of Sheridan. Particularly during his tenure as commander of the Cavalry Corps of the Army of the Potomac. For one thing, the man was grossly insubordinate and he got away with, basically, telling the army commander George Meade off. And instead of being relieved of command when Meade told Grant about it... Grant instead gave Sheridan an independent command." Eric continues to talk about the insubordination of Sheridan in the east, "and what astounds me is that he was constantly rewarded for that by giving increased levels of responsibility in command."

You can tell Gerry isn't agreeing and he argues back that, "but you might say nothing succeeds like success, and as unpleasant as it might be to serve as a colleague of Sheridan... he keeps winning."

Eric isn't having it. "Well, that's have a real good look at that Gerry!" He then breaks down Sheridan's tenure as cavalry commander in the Army of the Potomac ("about 90 days in the field in early 1864.") "I will suggest to you," he tells Gerry, "that his battlefield record during that period of time was something like 2-12-1. In the NFL head coaches get fired for posting records like that. Instead, Sheridan gets promoted to a department commander in August 1864. Why? I'm not sure. I've never been able to come up with a good answer to that question other than Grant's own words suggested he had a great deal of confidence in Sheridan's abilities. But as a commander of cavalry his record really wasn't very good at all and it is kind of astonishing to me that he is considered to be this tremendous cavalry commander when he really wasn't. And maybe it is because of the last nine days of the war." He then talks about the Appomattox Campaign where he admits that Sheridan performed extremely well. "But it also bears noting that he had no business being there because he had direct orders from Grant" which did not include riding south to join the main campaign against Lee. "He disobeyed a direct order from Grant. What's his reward? Grant makes him a Wing Commander. I don't get it."

Overall, this is an amusing interview to listen to. The fact that Eric is on a road trip and talking from a truck stop while taking a break kind of adds some amusement as well. You can sometimes here the truck stop ambiance of doors closing and the audio announcing when shower's are free for truck drivers to use.

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Confederate General-in-Chief
El Presidente 2010 - 2012

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