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Assad or We Burn the Country
How One Family’s Lust for Power Destroyed Syria
In spring 2011, Syrian President Bashar al-Assad turned to his friend and army commander, Manaf Tlass, for advice about how to respond to Arab Spring-inspired protests. Tlass pushed for conciliation but Assad decided to crush the uprising — an act which would catapult the country into an eight-year long war, killing almost half a million and fueling terrorism and a global refugee crisis.
Assad or We Burn the Country examines Syria’s tragedy through the generational saga of the Assad and Tlass families, once deeply intertwined and now estranged in Bashar’s bloody quest to preserve his father’s inheritance. By drawing on his own reporting experience in Damascus and exclusive interviews with Tlass, Dagher takes readers within palace walls to reveal the family behind the destruction of a country and the chaos of an entire region.
Dagher shows how one of the world’s most vicious police states came to be and explains how a regional conflict extended globally, engulfing the Middle East and pitting the United States and Russia against one another.
Timely, propulsive, and expertly reported, Assad or We Burn the Country is the definitive account of this global crisis, going far beyond the news story that has dominated headlines for years.
Life & Work
Bio:
Sam Dagher has reported in the Middle East for more than fifteen years. He was the only Western reporter based in Damascus from 2012 to 2014, until being detained by Assad’s henchmen in an underground prison and expelled for reporting deemed unfavorable to the regime.
He has worked for the Wall Street Journal, the New York Times, the Christian Science Monitor, and Agence France Presse, and has covered the conflict in Iraq, the Arab Spring uprisings, and Libya. The Wall Street Journal nominated Dagher’s work from Syria for the Pulitzer Prize and other journalism awards.
Quotes, Notes & Etc.
“As the only Western reporter based in Damascus during the early years of the civil war, Dagher has a rich perspective on the inner machinations of the regime of Bashar al Assad. In this important book, he lays out in grim detail the staggering cynicism and ruthless brutality of the Assad family. In doing so, he provides readers with a timely description of the dynasty that precipitated the destruction of a nation.”
- Clarissa Ward, Chief International Correspondent, CNN International
“The Syrian uprising has been one of the most consequential events in our new century-it has changed the world. Sam Dagher has been reporting from the heart of the crisis. His book, told through the eyes of two important Syrian insiders, a human rights activist and a former Brigadier General of the Syrian Republican Guard, is a vivid description of the crisis as it unfolded over the past 8 years. It is a must read for anyone who seeks to understand the complex world we are living in.”
- Dr. Zaher Sahloul, Syrian American doctor and President of MedGlobal
“A riveting chronicle from a courageous journalist who was there to witness and report the truth. A book that should deservedly garner significant award attention.”
- Kirkus, starred review
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).