Posts Tagged ‘manufacturing’
“While there might be a bit of genius in what we create, the real genius rests in whoever created the essential materials without which we could not create.”*…
Ben Reinhardt on how to mass-produce the new substances on which the cavalcade of wonders that populate ours lives depend…
I’m writing these words using plastic keys, on a composite wood desk, looking at a Gorilla Glass screen. The screen is linked to a machined-aluminum computer, inside of which doped silicon switches on and off a billion times per second.
One hundred and fifty years ago, not a single one of these materials existed.
Materials are not charismatic technologies like cars or computers. Yet they enable almost every one of humanity’s technical achievements: rebar unlocked the skyscrapers of the 1920s; chemically strengthened glass delivered us smartphones; and stainless steel, not created until 1913, brought with it the clinical equipment upon which modern medicine depends.
New materials create fundamentally new human capabilities. And yet, despite university teams regularly announcing triumphantly that they’ve created a material with seemingly magical properties like artificial muscles made out of carbon nanotubes or ‘limitless power’ from graphene, new materials-enabled human capabilities have been rare in the past 50 years.
Why is there such a gap between headlines and reality when it comes to new materials? Is there anything we can do about it?
The only way to answer those questions is to understand how a material goes from a tiny test tube sample to a commodity measured in megatons. Each step in the process requires different skills, mindsets, and resources. Each step is also governed by different incentives that make sense locally but create deadly traps for the entire process. Bypassing these traps needs systems-level solutions that take into account each step of the process – whether in policy, organizational reform, or new institutions – and unlock the progress that new materials enable…
Fascinating: “Getting materials out of the lab,” from @benjaminreinhardt.com in @worksinprogress.bsky.social.
See also: “The Wonder of Modern Drywall.”
(Image above: source)
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As we celebrate stuff, we might recall that it was on this date in 1892 that Dr. Washington Sheffeld, a pioneering dentist and dental surgeon, invented the collapsible metal toothpaste tube– making dental hygiene easier– and thus more regular– for millions. His original toothpaste recipe continues to be packaged and sold as “Dr. Sheffield’s: The Original Toothpaste.”
“The pencil is mightier than the pen”*…
Carson Monetti on an industrial rivalry that yielded the finest pencils in the world…
It was the summer of 1952, and the executives of Tombow Pencil were about to revolutionize the Japanese pencil industry—or, possibly, fall flat on their faces. Hachiro Ogawa, the son of founder Harunosuke Ogawa, was Tombow’s managing director, and he had just finished a years-long project, at enormous cost, to make the best pencil Japan had ever seen.
It was called “HOMO,” because in comparison with other Japanese pencils of its day, Tombow’s new model had a much more homogenous core. Pencil cores are a mixture of graphite and clay (thanks to Nicolas-Jacques Conté’s invention of the modern pencil in the late eighteenth century), and the components in early cores were not always evenly mixed. This was particularly true in Japan, where pencils had only been made since the turn of the century and advanced industrial equipment was just starting to become available.
Hachiro’s team at Tombow was determined to do whatever it took to produce more consistent cores. They struck up a working relationship with scientists at the University of Tokyo, a visionary move that yielded crucial technical research in 1948. Then, to implement the research findings, Tombow had to import more advanced industrial mills from the United States.
It was a gamble, but it worked, and suddenly Tombow could make much finer particles of graphite and clay than any other Japanese manufacturer. HOMO cores were stronger, smoother, and more consistent than anything else on the domestic market. They came in 17 grades, from 9H to 9B, a wide and finely graduated range that hadn’t been possible with Tombow’s old process.
They were also incredibly beautiful. Another import that had become available in the wake of World War II was incense cedar, the material of choice for high-quality pencils. Most of the pencil industry’s incense cedar comes from California, and Tombow quickly restarted its imports of the aromatic red wood. HOMO’s design takes full advantage of the material upgrade, with a subtle transparent lacquer that highlights the cedar’s color and grain.
For Hachiro Ogawa and his father Harunosuke, the completion of the HOMO project was the culmination of a dream, and it was undoubtedly a pioneering moment in Japanese industry. But as the company prepared to introduce HOMO at the grand Tokyo Kaikan meeting hall, the skeptics must have been hard to ignore. In the early 1950s, a Japanese pencil cost five or ten yen (about 25-50 cents in 2022 dollars.) Tombow’s technical leap forward had produced a model far superior to those inexpensive pencils, but they would also be pioneers in price. HOMO would cost 30 yen (about $1.50 today) for a single pencil, with boxes of twelve priced at 360 yen (about $19 today.)
Japanese consumers weren’t used to spending that kind of money on a pencil. But if Hachiro, Harunosuke, and their colleagues were nervous, their fears were surely resolved at the first-ever Tombow New Product Presentation. Tokyo Kaikan was the esteemed meeting place of foreign dignitaries, corporate titans, even heads of state—and now it was absolutely bustling with stationery wholesalers, curious people from other companies, and the press. Tombow took orders for 720,000 HOMO pencils on launch day alone.
Tombow’s surprising success with Japan’s first premium pencil, along with the ambition and competitive spirit of midcentury manufacturers, led to the most intense period of development the global pencil industry has ever seen.
We call it the Golden Age of Japanese Pencils.
The Golden Age began and ended with two Tombow launches: Hachiro’s pioneering HOMO launch in 1952 and the MONO 100 launch in 1967, fifteen years later. During this period, Tombow and its crosstown rival Mitsubishi Pencil created many of the greatest pencils of all time, including the two best-regarded models offered today…
[Monetti tells the story of that fertile period…]
… although Mitsubishi and Tombow didn’t know in advance that the Japanese pencil industry would reach its peak in 1966, both companies clearly saw it coming, and they had already prepared themselves for a future beyond pencils. One wonders why both companies continued to expend research and development resources on high-end pencils in the late 1960s, but they did—and on a personal note, this sometimes inexplicable tendency of Japanese manufacturers to perfect what doesn’t need to be perfected is a major reason why we’re so passionate about our Japanese imports…
[More detail…]
… In this pencil merchant’s opinion, there’s simply no need for a pencil more perfect than the best of Japan’s Golden Age. We can admire the heady moment and the strong personalities who created these pencils, and we can be forgiven for daydreaming about the even-more-perfect pencil, the one that would make our handwriting beautiful and our drawings perfectly proportional.
But when I sit down to sharpen my pencil (usually a Hi-Uni HB or Mitsubishi 9852 “Master Writing” B), my primary feeling is gratitude. The designers and engineers who created these tools didn’t know they would be made for 70 years, but they treated their seemingly small task with intense seriousness of purpose, and that passion produced outstanding tools that have still not been surpassed. Today, in 2022, I frequently speak with artists who tell me how much these pencils inspire them and enable their best work.
So I’m not regretful about the end of the Golden Age of Pencils, because in the ways that matter most, it never ended. Mitsubishi, in particular, has loyally maintained its midcentury product line, continuing to manufacture its pencils in Japan and even adding a minor new model now and then. (There’s an antiviral-coated Mitsubishi in light blue, new for 2022.) Artists and writers still debate the merits of Hi-Uni and MONO 100.
And I can’t speak for everyone who works here [St. Louis Art Supply], but personally, I’m excited every time I ship a fresh, unsharpened dozen to a new customer. For them, the Golden Age is just getting started…
A celebration of dedicated craft: “The Golden Age of Japanese Pencils, 1952-1967,” from @monetti.bsky.social, via Spencer Wright and his wonderful newsletter, Scope of Work.
See also: The Pencil, by Henry Petrosky
* Robert Pirsig (and here)
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As we find poetry in the prosaic, we might recall that it was on this date in 1970 that the inaugural gathering of pencil users and their fans that we now know as San Diego Comic-Con was held. Originally called “San Diego’s Golden State Comic-Minicon,” it has grown into the the largest pop and culture festival in the world.
“I tell you, sir, the only safeguard of order and discipline in the modern world is a standardized worker with interchangeable parts.”*…
… a sentiment that grates on the indivisualists among us. Still, there’s no denying the enormous impact that standardization has had. In an excerpt from his book, Exactly: How Precision Engineers Created The Modern World, Simon Winchester on the revolution that came from interchangeable parts…
Lewis Mumford, the historian and philosopher of technology, was one of the earliest to recognize the major role played by the military in the advancement of technology, in the dissemination of precision-based standardization, in the making of innumerable copies of the same and usually deadly thing, all iterations of which must be identical to the tiniest measure, in nanometers or better. The stories that follow, in which standardization and precision-based manufacturing are shown to become crucial ambitions of armies on both sides of the Atlantic, serve both to confirm Mumford’s prescience and to underline the role that the military plays in the evolution of precision. The examples from the early days of the science are of course far from secret; those from today, and that might otherwise be described in full to illustrate today’s very much more precise and precision-obsessed world, are among the most secure and confidential topics of research on the planet — kept in permanent shadow, as the dark side necessarily has to be.
It was in the French capital in 1785 that the idea of producing interchangeable parts for guns was first properly realized, and the precision manufacturing processes that allowed for it were ordered to be first put into operation. Still, it is reasonable to ask why, if the process was dreamed up in 1785, was it not being applied to the American musketry in official use in 1814, twenty-nine years later? Men were running, battles were being lost, great cities were being burned — and in part because the army’s guns were not being made as they should have been made. There is an answer, and it is not a pretty one.
Two little-remembered Frenchmen got the honor of first introducing the system that, had it been implemented in time and implemented properly, would have given America the guns it should have had. The first, the less familiar of the pair, despite the evidently superior nature of his name, was Jean-Baptiste Vaquette de Gribeauval, a wellborn and amply connected figure who specialized in designing cannons for the French artillery. He supposedly came up with a scheme, in 1776, for boring out cannons using almost exactly the same technique that John Wilkinson had invented in England, that of moving a rotating drill into a solid cannon-size and cannon-shaped slug of iron. Wilkinson had patented his precisely similar system two years earlier, in 1774, but nonetheless, the French system, the système Gribeauval, as it came to be known for the next three decades, long dominated French artillery making. It gave the French armies access to a range of highly efficient and lightweight, but manifestly not entirely originally conceived, field pieces. (Gribeauval did employ what were called go and no-go gauges as a means of ensuring that cannonballs fitted properly inside his cannons, but this was hardly revolutionary engineering, and it had been around in principle for five centuries.)
The second figure, the man who did the most to bring the system of interchangeable parts to the making of guns, and whose technique was, unlike Gribeauval’s, unchallengeable, was Honoré Blanc. He was not a soldier but a gunsmith, and during his apprenticeship he became well aware of the Gribeauval system. He decided early in his career that he could bring a similar standardization to the flintlock musket, for the benefit of the man on the battlefield.
Yet there was a difference. A cannon was big and heavy and crude — a gunner simply touched his linstock, with its attached lighted match, to the vent, and the cannon fired — and so such parts as there were proved easily amenable to standardization. With the flintlock, however, the lock (that part of a musket that delivered the spark that exploded the priming powder that ignited the main charge and drove the ball down the barrel) was a fairly delicate and complex piece of engineering, made of many oddly shaped parts and liable to all kinds of failure. To the uninitiated, the names of the bits and pieces of a flintlock alone are bewildering: a lock has parts that are variously known as the bridle, the sear, the frizzen, the pan, and any number of springs and screws and bolts and plates as well as, of course, the spark-producing (when struck by the aforementioned metal frizzen) piece of flint. To render the lock into a standard piece of military equipment, with all its parts made exactly the same for each lock, was going to be a tall order.
Cost, rather than the well-being of the infantryman or the conduct of the battle, was the prime motive. The French government declared in the mid-1780s that the country’s gunsmiths were charging too much for their craftsmanship, and demanded they improve their manufacturing process or lower their prices. The smiths not unnaturally balked at the impertinence of the suggestion, and promptly tried selling their products to the new armories and gun makers across the Atlantic in America, a move that alarmed the French government, as it imagined it might well run out of weaponry as a result.
It was at this point that Honore Blanc entered the picture, taking a civilian job as the army’s quality-control inspector. His brother gunsmiths expressed their dismay over the fact that one of their number was going over to the other side, was a poacher turning gamekeeper. Blanc dismissed the criticism and got on with his job, his own motivation being the welfare of the soldier out in the field rather than allowing the government to cut costs. He was greatly influenced by M. de Gribeauval, and decided he could ape his system of standardization, ensuring that all the component parts of a flintlock he made as exact and faithful copies of one perfectly made master.
This master he made himself, carefully and with great precision, and with all the specifications laid down as precisely as possible (using the arcane system of the Ancien Régime, which still employed dimensional measures such as the pointe, the ligne, and the pouce) to tolerances of about what today we would recognize as 0.02 millimeters. He then made a series of jigs and gauges to ensure that all the locks made subsequently were faithful to this first perfect master, by the judicious use of files and such lathes as were available. The gunsmiths hired by Blanc to perform this task — by hand, still — made each lock exactly as the original. Providing that they did so, exactly, all the pieces would then fit perfectly together, and the whole assembled lock would fit equally perfectly into each completed weapon.
Yet only a small number of gunsmiths were willing to work under these stringent new conditions. Most balked. Making guns simply by copying parts reduced the value of the gunsmith’s craftsmanship to near insignificance, they argued. Unskilled drones could do their work instead. By arguing this, the French smiths were voicing much the same complaints as the Luddites had grumbled over in England: that precision was stripping their skills of worth. This argument would be heard many times in the future as the steady march of precision engineering advanced across Europe, the Americas, the world. The kind of mutinous sentiments heard in the English Midlands half a century before were now being muttered in northern France, as precision started to become an international phenomenon, its consequences rippling into the beyond.
Such was the hostility in France to Honoré Blanc, in fact, that the government had to offer him protection, and so sequestered him and his small but faithful crew of precision gun makers in the basement dungeons of the great Château de Vincennes, east of Paris. At the time, the great structure (much of it still standing, and much visited) was in use as a prison: Diderot had been incarcerated there, and the Marquis de Sade. In the relative peace of what would, within thirty years, become one of postrevolutionary France’s greatest arsenals, Blanc and his team worked away producing his locks, all of them supposedly identical. Blanc made all the necessary tools and jigs to help in his efforts — according to one source, hardening the metal pieces by burying them for weeks in the copious leavings of manure from the castle stables.
By July of 1785, Blanc was ready to offer a demonstration. He sent out invitations to the capital’s nabobs and military flag officers and to his still-hostile colleague gunsmiths, to show them what he had achieved. Many officials came, but few of the smiths, who were still seething. Yet one person of great future significance did present himself at the donjon’s fortified gates: the minister to France of the United States of America, Thomas Jefferson…
On the making of the modern world: interchangeable parts, from @simonwwriter, via the invaluable @delanceyplace.
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As we mix and match, we might spare a thought for another contibutor to our modern age, Jethro Tull; he died on this date in 1741. An agronomist who promoted planting seeds in rows (as opposed to “broadcast,” simply casting the seeds around), he perfected a horse-drawn seed drill in 1701 that economically sowed the seeds in three neat rows; because of its internal moving parts (including a rotary mechanism that became part of all sowing devices that followed), it has been called the first agricultural machinery. He later developed a horse-drawn hoe, a four-coultered plow that made vertical cuts in the soil before the plowshare.
Tull’s methods– horse-hoeing and row seeding, effectively a rejection of traditional Virgilian husbandry– were initailly controversial, but were steadily adopted by many landowners and helped to provide the basis for modern agriculture.
“Labor is the superior of capital, and deserves much the higher consideration”*…

Christopher Payne is watching Gay Burdick work, and I am watching Christopher Payne work.
We’re at the MTA’s 207th Street repair shop, which Payne has, for some time, been photographing for the New York Times. Payne says he wants to wrap up the shoot and publish the photos; the MTA has experienced some turnover since the project began; they want to meet with Payne (and writer David Waldstein) and get a better understanding of what his goals are. While we’re here, Payne wants to see Gay’s workstation again…
Spencer Wright with an appreciation of photographer Christopher Payne— and his chosen subject matter…
I became aware of Payne through his previous work in the Times, where he has published shoots from factories that make colored pencils, container ships, and the paper version of the Times itself. His photography is striking, and from the accounts in his most recent book, Made in America, his process is meticulous. Payne will apparently return to the same factory dozens of times, waiting for the moment when a production run lines up just right, or the material being processed is just the right color, or — I don’t know — his subject finally lifts their hand in a particularly elegant way. Payne is an artist, and his art documents, explains, and valorizes manufacturing, fabrication, and maintenance work.
Aspects of Payne’s work might be categorized as genre art. He captures moments in everyday time; he captures human intention and effort; he captures the infrastructure required to make stuff. His subjects are often highly engineered (he has photographed ASML’s EUV machines, Boeing’s 787 assembly line, and NASA’s Space Launch System), but just as often they’re highly soulful (Payne published a book about Steinway pianos; he has also photographed Martin’s guitar factory and Zildjian’s cymbal production process). Regardless of what he’s shooting, Payne’s photographs often feel just as carefully assembled as the objects in them…
…
… In the introduction to Made in America, Simon Winchester writes about industrialization, consumerization and the abstraction of knowledge and skill that occurred in the past few centuries. Before factories, it took forty-three individual craftsmen to make a block for the British Navy; in 1803, with the invention of Henry Maudslay’s block-making machines, that number was reduced to ten. Winchester writes of this transition with reverence, but he also suggests that Made in America “poses questions which, given the uncertain condition of our present-day planet, sorely need to be addressed.” I asked Payne what these questions were, and his answer mirrored something that he had written in the book’s afterward: “My photographs are a celebration of the making of things, of the transformation of raw materials into useful objects… They are also a celebration of teamwork and community…These are the people who make the stuff that fuels our economy, and in this time of social polarization and increasing automation, they offer a glimmer of hope.”
But I think that Payne himself is the one who offers a glimmer of hope. The factories he visits are complicated, complex, kludgy. Factories take knowledge away from craftspeople and turn it into bureaucracy and institutional anxiety. Factories pollute our waterways. Factories take razor-sharp lathe swarf and try to convince us it’s jewelry; factories enlist workers to help someone else fulfill their dreams. But then Christopher Payne comes in, and he crawls around for a few months, and he finds parts of the factory that we can be purely and unabashedly proud of. I don’t think that Payne’s work is asking questions at all; he’s just taking something messy, and pointing a spotlight on the honorable parts. And, to be honest, I think that’s probably what we need…
Documenting the making and maintenance of things– fascinating and beautifully illustrated: “The Honorable Parts,” from @the_prepared. Eminently worth reading in full.
* Abraham Lincoln
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As we pay attention, we might recall that it was on this date in 1919 that fiery hot molasses poured into the streets of Boston, killing 21 people and injuring scores of others– the Great Boston Molasses Flood:
The United States Industrial Alcohol building was located on Commercial Street near North End Park in Boston. It was close to lunch time on January 15 and Boston was experiencing some unseasonably warm weather as workers were loading freight-train cars within the large building. Next to the workers was a 58-foot-high tank filled with 2.5 million gallons of crude molasses.
Suddenly, the bolts holding the bottom of the tank exploded, shooting out like bullets, and the hot molasses rushed out. An eight-foot-high wave of molasses swept away the freight cars and caved in the building’s doors and windows. The few workers in the building’s cellar had no chance as the liquid poured down and overwhelmed them.
The huge quantity of molasses then flowed into the street outside. It literally knocked over the local firehouse and then pushed over the support beams for the elevated train line. The hot and sticky substance then drowned and burned five workers at the Public Works Department. In all, 21 people and dozens of horses were killed in the flood. It took weeks to clean the molasses from the streets of Boston.
This disaster also produced an epic court battle, as more than 100 lawsuits were filed against the United States Industrial Alcohol Company. After a six-year-investigation that involved 3,000 witnesses and 45,000 pages of testimony, a special auditor finally determined that the company was at fault because the tank used had not been strong enough to hold the molasses. Nearly $1 million [over $15.5 million in today’s dollars] was paid in settlement of the claims… – source
“Poverty is the worst form of violence”*…
Two economic historians, Peter A. Coclanis and Louis M. Kyriakoudes, on why about 20% of counties in the U.S. South are marked by “persistent poverty”…
For a brief moment in the summer of 2023, the surprise No. 1 song “Rich Men North of Richmond” focused the country’s attention on a region that often gets overlooked in discussions of the U.S. economy. Although the U.S. media sometimes pays attention to the rural South — often concentrating on guns, religion and opioid overdoses — it has too often neglected the broad scope and root causes of the region’s current problems.
As economic historians based in North Carolina and Tennessee, we want a fuller version of the story to be told. Various parts of the rural South are struggling, but here we want to focus on the forlorn areas that the U.S. Department of Agriculture refers to as “rural manufacturing counties” — places where manufacturing is, or traditionally was, the main economic activity.
You can find such counties in every Southern state, although they were historically clustered in Alabama, Georgia, North and South Carolina, and Tennessee. And they are suffering terribly.
First, let’s back up. One might be tempted to ask: Are things really that bad? Hasn’t the Sun Belt been booming? But in fact, by a range of economic indicators — personal income per capita and the proportion of the population living in poverty, for starters – large parts of the South, and particularly the rural South, are struggling.
Gross domestic product per capita in the region has been stuck at about 90% of the national average for decades, with average income even lower in rural areas. About 1 in 5 counties in the South is marked by “persistent poverty” — a poverty rate that has stayed above 20% for three decades running. Indeed, fully 80% of all persistently poor counties in the U.S. are in the South.
Persistent poverty is, of course, linked to a host of other problems. The South’s rural counties are marked by low levels of educational attainment, measured both by high school and college graduation rates. Meanwhile, labor-force participation rates in the South are far lower than in the nation as a whole.
Unsurprisingly, these issues stifle economic growth.
Meanwhile, financial institutions have fled the region: The South as a whole lost 62% of its banks between 1980 and 2020, with the decline sharpest in rural areas. At the same time, local hospitals and medical facilities have been shuttering, while funding for everything from emergency services to wellness programs has been cut.
Relatedly, the rural South is ground zero for poor health in the U.S., with life expectancy far lower than the national average. So-called “deaths of despair” such as suicides and accidental overdoses are common, and rates of obesity, diabetes, hypertension, heart disease and stroke are high – much higher than in rural areas in other parts of the U.S. and in the U.S. as a whole…
Although some people think that these areas have forever been in crisis, this isn’t the case. While the South’s agricultural sector had fallen into long-term decline in the decades following the Civil War — essentially collapsing by the Great Depression — the onset of World War II led to an impressive economic growth spurt.
War-related jobs opening up in urban areas pulled labor out of rural areas, leading to a long-delayed push to mechanize agriculture. Workers rendered redundant by such technology came to constitute a large pool of cheap labor that industrialists seized upon to deploy in low-wage processing and assembly operations, generally in rural areas and small towns.
Such operations surged between 1945 and the early 1980s, playing a huge role in the region’s economic rise. However humble they may have been, in the South — as in China since the late 1970s — the shift out of a backward agricultural sector into low-wage, low-skill manufacturing was an opportunity for significant productivity and efficiency gains.
This helped the South steadily catch up to national norms in terms of per-capita income: to 75% by 1950, 80% by the mid-1960s, over 85% by 1970, and to almost 90% by the early 1980s…
By the early 1980s, however, the gains made possible by the shift out of agriculture began to play themselves out. The growth of the rural manufacturing sector slowed, and the South’s convergence upon national per capita income norms stopped, remaining stuck at about 90% from then on.
Two factors were largely responsible: new technologies, which reduced the number of workers needed in manufacturing, and globalization, which greatly increased competition. This latter point became increasingly important, since the South, a low-cost manufacturing region in the U.S., is a high-cost manufacturing region when compared to, say, Mexico.
Like Mike Campbell’s bankruptcy in Hemingway’s “The Sun Also Rises,” the rural South’s collapse came gradually, then suddenly: gradually during the 1980s and 1990s, and suddenly after China’s entry into the World Trade Organization in December 2001…
A sobering read: “Poor men south of Richmond? Why much of the rural South is in economic crisis.”
* Mahatma Gandhi
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As we dive into the dynamics of development, we might recall that it was on this date in 1718 that the famous pirate Edward Teach– better known as Blackbeard– was killed off the coast of North Carolina.
Edward Teach, also known as Blackbeard, is killed off North Carolina’s Outer Banks during a bloody battle with a British navy force sent from Virginia.
Believed to be a native of England, Edward Teach likely began his pirating career in 1713, when he became a crewman aboard a Caribbean sloop commanded by pirate Benjamin Hornigold. In 1717, after Hornigold accepted an offer of general amnesty by the British crown and retired as a pirate, Teach took over a captured 26-gun French merchantman, increased its armament to 40 guns, and renamed it the Queen Anne’s Revenge.
During the next six months, the Queen Anne’s Revenge served as the flagship of a pirate fleet featuring up to four vessels and more than 200 men. Teach became the most infamous pirate of his day, winning the popular name of Blackbeard for his long, dark beard, which he was said to light on fire during battles to intimidate his enemies. Blackbeard’s pirate forces terrorized the Caribbean and the southern coast of North America and were notorious for their cruelty.
In May 1718, the Queen Anne’s Revenge and another vessel were shipwrecked, forcing Blackbeard to desert a third ship and most of his men because of a lack of supplies. With the single remaining ship, Blackbeard sailed to Bath in North Carolina and met with Governor Charles Eden. Eden agreed to pardon Blackbeard in exchange for a share of his sizable booty.
At the request of North Carolina planters, Governor Alexander Spotswood of Virginia dispatched a British naval force under Lieutenant Robert Maynard to North Carolina to deal with Blackbeard. On November 22, Blackbeard’s forces were defeated and he was killed in a bloody battle of Ocracoke Island. Legend has it that Blackbeard, who captured more than 30 ships in his brief pirating career, received five musket-ball wounds and 20 sword lacerations before dying…
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