Behold the Corpse: Violent Images and the Case of Emmett Till
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The Attorney General's Ninth Annual Report to Congress Pursuant to The
THE ATTORNEY GENERAL'S NINTH ANNUAL REPORT TO CONGRESS PURSUANT TO THE EMMETT TILL UNSOLVED CIVIL RIGHTS CRIME ACT OF 2007 AND THIRD ANNUALREPORT TO CONGRESS PURSUANT TO THE EMMETT TILL UNSOLVEDCIVIL RIGHTS CRIMES REAUTHORIZATION ACT OF 2016 March 1, 2021 INTRODUCTION This is the ninth annual Report (Report) submitted to Congress pursuant to the Emmett Till Unsolved Civil Rights Crime Act of2007 (Till Act or Act), 1 as well as the third Report submitted pursuant to the Emmett Till Unsolved Civil Rights Crimes Reauthorization Act of 2016 (Reauthorization Act). 2 This Report includes information about the Department of Justice's (Department) activities in the time period since the eighth Till Act Report, and second Reauthorization Report, which was dated June 2019. Section I of this Report summarizes the historical efforts of the Department to prosecute cases involving racial violence and describes the genesis of its Cold Case Int~~ative. It also provides an overview ofthe factual and legal challenges that federal prosecutors face in their "efforts to secure justice in unsolved Civil Rights-era homicides. Section II ofthe Report presents the progress made since the last Report. It includes a chart ofthe progress made on cases reported under the initial Till Act and under the Reauthorization Act. Section III of the Report provides a brief overview of the cases the Department has closed or referred for preliminary investigation since its last Report. Case closing memoranda written by Department attorneys are available on the Department's website: https://www.justice.gov/crt/civil-rights-division-emmett till-act-cold-ca e-clo ing-memoranda. -
High School Audience Discussion Guide
Mike Wiley – The Playwright and Actor Actor and playwright Mike Wiley has spent the last decade fulfilling his mission to bring educational theatre to young audiences. In the early days of his career, Wiley found few theatrical resources to shine light on key events and fig- ures in black history. To bring these often ignored stories to life, Wiley started his own production company. Through his work, he has introduced countless students to the sto- ries and legacies of Emmett Till, the Tuskegee Airmen, Henry “Box” Brown and more. Mike Wiley has a Masters of Fine Arts from the University of North Carolina at Chapel Hill. Wiley has also appeared on the Discovery Channel, The Learning Channel and the National Geographic Channel and was recently profiled in Our State magazine. Timothy B. Tyson – The Author Tim Tyson, noted author and historian, was born and raised in North Carolina. He received his Ph.D. from Duke University in 1994 and currently serves there as a Senior Research Scholar at the Center for Documentary Studies and also holds positions in the Duke Divinity School and the Department of History. His memoir Blood Done Sign My Name won the Southern Book Award, was a finalist for the National Book Critics Award and received the Louisville Grawemeyer Award in Religion from the Louisville Presbyterian Theological Seminary. The book has also been selected for the reading programs of a number of communities and colleges (including The University of North Carolina at Chapel Hill, Villanova University and The University of Iowa). A movie based on the book is sched- uled for release in the coming months. -
Religion, White Supremacy, and the Rise and Fall of Thomas Dixon, Jr
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2013 "History Written with Lightning": Religion, White Supremacy, and the Rise and Fall of Thomas Dixon, Jr David Michael Kidd College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons, Ethnic Studies Commons, and the United States History Commons Recommended Citation Kidd, David Michael, ""History Written with Lightning": Religion, White Supremacy, and the Rise and Fall of Thomas Dixon, Jr" (2013). Dissertations, Theses, and Masters Projects. Paper 1539623616. https://dx.doi.org/doi:10.21220/s2-5k6d-9535 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. “History Written With Lightning”: Religion, White Supremacy, and the Rise and Fall of Thomas Dixon, Jr. David Michael Kidd Norfolk, Virginia Master of Arts, University of Florida, 1992 Bachelor of Arts, Auburn University, 1990 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies The College of William and Mary May, 2013 © 2013 David M. Kidd All Rights Reserved APPROVAL PAGE This Dissertation is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy David Michael Kidd Approved by the Committee, April, 2013 Committee Chair Professor of American Studies and English, Susan V. -
On Looking: Lynching Photographs and Legacies of Lynching After 9/11
2Q/RRNLQJ/\QFKLQJ3KRWRJUDSKVDQG/HJDFLHVRI /\QFKLQJDIWHU Dora Apel American Quarterly, Volume 55, Number 3, September 2003, pp. 457-478 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/aq.2003.0020 For additional information about this article http://muse.jhu.edu/journals/aq/summary/v055/55.3apel.html Access provided by Wayne State University (19 Oct 2014 18:19 GMT) ON LOOKING 457 EXHIBITION REVIEW On Looking: Lynching Photographs and Legacies of Lynching after 9/11 DORA APEL Wayne State Universsity Witness: Photographs of Lynchings from the Collection of James Allen and John Littlefield. Organized by Andrew Roth, Roth Horowitz Gallery, New York. Jan. 13–Feb. 12, 2000. Without Sanctuary: Lynch- ing Photography in America. Curated by James Allen and Julia Hotton, New York Historical Society, New York. Mar. 14–Oct. 1, 2000. The Without Sanctuary Project. Curated by James Allen; co-directed by Jessica Arcand and Margery King, The Andy Warhol Museum, Pitts- burgh, Penn., Sept. 22, 2001–Jan. 2, 2002. Without Sanctuary: Lynch- ing Photography in America. Curated by Joseph F. Jordan; Douglas H. Quin, exhibition designer; Frank Catroppa, Saudia Muwwakkil, and Melissa English-Rias, MLK Site team. Martin Luther King Jr. National Historic Site, Atlanta, GA., May 1–Dec. 31, 2002. Without Sanctuary: Lynching Photography in America. By James Allen (editor), Hilton Als, Congressman John Lewis, Leon F. Litwack. Sante Fe, N.M.: Twin Palms Publishers, 2000. 212 pages. $60.00 (cloth). http://www.journale.com/withoutsanctuary/main. TODAY WHEN WE LOOK AT LYNCHING PHOTOGRAPHS, WE TRY NOT TO SEE THEM. Looking and seeing become seeming forms of aggression that impli- cate the viewer, however distressed and sympathetic, in the acts that Dora Apel is the W. -
Emmett Till and the Modernization of Law Enforcement in Mississippi
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of San Diego San Diego Law Review Volume 46 | Issue 2 Article 6 5-1-2009 The ioleV nt Bear It Away: Emmett iT ll and the Modernization of Law Enforcement in Mississippi Anders Walker Follow this and additional works at: https://digital.sandiego.edu/sdlr Part of the Law Commons Recommended Citation Anders Walker, The Violent Bear It Away: Emmett iT ll and the Modernization of Law Enforcement in Mississippi, 46 San Diego L. Rev. 459 (2009). Available at: https://digital.sandiego.edu/sdlr/vol46/iss2/6 This Article is brought to you for free and open access by the Law School Journals at Digital USD. It has been accepted for inclusion in San Diego Law Review by an authorized editor of Digital USD. For more information, please contact [email protected]. WALKER_FINAL_ARTICLE[1] 7/8/2009 9:00:38 AM The Violent Bear It Away: Emmett Till and the Modernization of Law Enforcement in Mississippi ANDERS WALKER* TABLE OF CONTENTS I. INTRODUCTION .................................................................................................. 460 II. LESSONS FROM THE PAST ................................................................................... 464 III. RESISTING “NULLIFICATION” ............................................................................. 468 IV. M IS FOR MISSISSIPPI AND MURDER.................................................................... 473 V. CENTRALIZING LAW ENFORCEMENT ................................................................. -
Journalism, Racial Violence, and Political Control in Postbellum North Carolina
ABSTRACT BENTON, ANDREW MORGAN. The Press and the Sword: Journalism, Racial Violence, and Political Control in Postbellum North Carolina. (Under the direction of Dr. Susanna Lee.) Political tension characterized North Carolina in the decades after the Civil War, and the partisan press played a critical role for both parties from the 1860s through the turn of the twentieth century: Republican papers praised the reforms of biracial Republican legislatures while Democratic editors harped on white fears of “negro rule” and black sexual predation. This study analyzes the relationship between press, politics, and violence in postbellum North Carolina through case studies of the 1870 Kirk-Holden War and the so-called Wilmington Race Riot of 1898. My first chapter argues that the Democratic press helped exacerbate the Kirk-Holden War by actively mocking black political aspirations, criticizing Republican leaders such as Holden, and largely ignoring the true nature and scope of the Klan in the 1860s. My second chapter argues that rhetoric played a crucial role in the way the violence in Wilmington transpired and has been remembered, and my conclusion discusses the ways that the press manipulated the public’s historical memory of both tragedies. It is not my intention to argue direct causation between racist rhetoric and racial crimes. Rather, I argue that North Carolina’s partisan press, and especially its Democratic editors, exacerbated pre-existing racial tensions and used images and language to suggest modes of thought—defense of white womanhood, for example—by which white supremacists directed and legitimized violence. The Press and the Sword: Journalism, Racial Violence, and Political Control in Postbellum North Carolina by Andrew Morgan Benton A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the Degree of Master of Arts History Raleigh, North Carolina 2016 APPROVED BY: Dr. -
FEBRUARY ONE Lesson Plan Pbs.Org/Independentlens/Februaryone Breaking the Code: Actions and Songs of Protest
FEBRUARY ONE Lesson Plan pbs.org/independentlens/februaryone Breaking the Code: Actions and Songs of Protest Grade Levels: 7-12 Estimated time: Three class periods, not including optional performance of songs Introduction: The Greensboro Four staged their lunch counter protest in reaction to the frustrations and injustices of life for African Americans in the Jim Crow South. Before detailing the actual protest, FEBRUARY ONE depicts some of the conditions against which the students demonstrated. One method of protest not mentioned in the video is the variety of songs that were written to publicize the cruelties of Jim Crow laws and to speak out against the treatment of African Americans. An example is Bob Dylan’s “The Murder of Emmett Till,” which decries the horrendous murder of a Chicago teenager visiting Mississippi. Students will examine a few of the many ways in which African Americans were treated unfairly under Jim Crow, and they will watch the FEBRUARY ONE video to learn about life in Greensboro and the Greensboro sit-ins. They will also read the lyrics to Dylan’s song and discuss the purposes of protest music. They will conclude by writing their own songs lyrics, set to modern tunes with which they are familiar, describing the sit-ins. It would be ideal if students had a basic knowledge of Civil Rights Movement before doing this lesson. To expand upon the Jim Crow topic, you might want to do some of the lessons from the PBS Web site for The Rise and Fall of Jim Crow at http:// www.pbs.org/wnet/jimcrow. -
The University of Chicago Skeletonization
THE UNIVERSITY OF CHICAGO SKELETONIZATION, CAMERAFLAGE, LOITERING: HABITS OF WITNESSING AFTER THE GREAT WAR A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE BY CHALCEDONY BODNAR WILDING CHICAGO, ILLINOIS JUNE 2019 TABLE OF CONTENTS TABLE OF CONTENTS ....................................................................................................................................................ii LIST OF FIGURES ........................................................................................................................................................... iii ACKNOWLEDGMENTS ................................................................................................................................................. iv ABSTRACT: SKELETONIZATION, CAMERAFLAGE, LOITERING: HABITS OF WITNESSING AFTER THE GREAT WAR ............................................................................................................................................................ v INTRODUCTION: SKELETONIZING THE GREAT WAR ........................................................................................1 CHAPTER 1: “WHAT IS CLOSER TO THE TRUTH”: MARIANNE MOORE TAKES “IMAGINARY POSSESSION” OF THE WAR’S “WELL EXCAVATED GRAVE” ........................................................................ 24 CHAPTER 2: “LISTEN WHILE I TELL YOU ALL THE TIME”: GERTRUDE STEIN AND ALICE B. TOKLAS ELEGIZE “CAMERAFLAGE” IN COINCIDENCE -
Chapter One “The Woody Guthrie Jukebox” Bob Dylan and Early Songs
LIKE A REBEL WILD A study of BOB DYLAN’s art by Jon P. Hooper LIKE A REBEL WILD A study of BOB DYLAN’s art by Jon P. Hooper Manly Duckling 2007 Text copyright © 2007 by Jon P. Hooper. All rights reserved. No part of this book may be reproduced in any form or by electronic or mechanical means, including information storage or retrieval systems, without permission in writing from the author, except by a reviewer who may quote brief passages. Lyrics to Bob Dylan’s songs have been quoted only as necessary in the context of critical analysis, and are believed to be covered by “Fair Use” policy. If, however, any copyright infringement has occurred, the author will be pleased to rectify the situation at the earliest opportunity. This book is dedicated to Miss Potter. CONTENTS INTRODUCTION ............................................................................... 7 “THE WOODY GUTHRIE JUKEBOX” .......................................... 11 “FINGER-POINTING SONGS” ....................................................... 23 “IF MY THOUGHT-DREAMS COULD BE SEEN” ........................ 47 “OTHER FORMS OF PSYCHIC EXPLOSION” .............................. 63 “DRIFTER’S ESCAPE” ...................................................................... 77 “WHAT THE BROKEN GLASS REFLECTS” ................................. 91 “HANGING ON TO A SOLID ROCK” ......................................... 109 “SURVIVING IN THE RUTHLESS WORLD” ............................... 131 “DIGNITY” ..................................................................................... -
Congressional Record—Senate S6364
S6364 CONGRESSIONAL RECORD — SENATE June 13, 2005 Mr. FRIST. Mr. President, I ask These three men, driven by their en- can become a better people by cele- unanimous consent to speak as in trepreneurial energy, opened a small brating the glories of our past—but morning business for what time is re- grocery store that catered primarily to also our imperfections. That includes quired. African Americans. They took business continuing to do our utmost to protect The PRESIDING OFFICER. Without away from nearby White business own- voting rights for all Americans. objection, it is so ordered. ers. Driven by hatred and jealousy, by Mr. President, I yield the floor and f rage and prejudice, an angry White suggest the absence of a quorum. mob stormed their store. Acting in The ACTING PRESIDENT pro tem- A FAILING OF THE SENATE self-defense, Wells’ three friends fired pore. The clerk will call the roll. Mr. FRIST. Mr. President, in 45 min- on the rioters. The police arrested the The bill clerk proceeded to call the utes or so, we will be turning to an im- grocers for defending themselves. The roll. portant issue which people have spoken mob kidnapped all three from jail, and Ms. LANDRIEU. Mr. President, I ask to over the course of the day, an issue all three were murdered in the Mem- unanimous consent that the order for we will be spending the evening on. It phis streets. the quorum call be rescinded. is an issue that is one of the worst These brutal murders galvanized The PRESIDING OFFICER (Mr. -
166 Archivaria 50 Without Sanctuary: Lynching Photography in America
166 Archivaria 50 Without Sanctuary: Lynching Photography in America. NEW-YORK HISTORICAL SOCIETY, 170 Central Park West, New York, NY. 14 March 2000 to 1 October 2000. Without Sanctuary: Lynching Photography in America, with essays by JAMES ALLEN, HILTON ALS, JOHN LEWIS, and LEON LITWACK. Santa Fe, New Mexico: Twin Palms Publishers, 2000. 212 p. ISBN 0-944092-69-1. Academics often criticize history museums for their institutional conservatism, nostalgic approaches, family-oriented fare, and failure to confront the darker aspects of the American past. Leftist scholars, ranging from Mike Wallace to Mark Leone to Richard Handler, frequently charge that historical societies represent and reflect the hegemonic perspective of America’s power elite.1 Held captive by their corporate sponsors and upper-class patrons, so the argument usually goes, mainstream museums develop inoffensive and celebra- tory programming for a white bread, middle-class audience. Entertainment trumps education, as watered-down exhibits offer consensual interpretations and fail to challenge established beliefs. Excessively cautious administrators, especially fearing retaliation by right-wing watchdogs and government funding agencies after the culture wars of the 1980s and 1990s, privilege the bland and flag any deviation from the middlebrow norm. At first glance, the venerable New-York Historical Society (N-YHS), established in 1804, appears to fit the stereotype. Best known to many archi- vists as a twentieth-century case study in financial mismanagement, the N-YHS has long attracted the scorn of social historians. Journalists and aca- demics throughout the early 1990s sneered at its supposedly elitist collecting policies, derisively characterized its museum as “New York’s attic,” and viewed its exhibitions as peripheral to urban intellectual life. -
Trouble No More Anthony Grooms Kennesaw State University, [email protected]
Kennesaw State University DigitalCommons@Kennesaw State University Faculty Publications 1-2006 Trouble No More Anthony Grooms Kennesaw State University, [email protected] Follow this and additional works at: http://digitalcommons.kennesaw.edu/facpubs Part of the American Literature Commons, and the Literature in English, North America Commons Recommended Citation Grooms, Anthony. Trouble No More. Kennesaw GA: Kennesaw State Univ Pr, 2006. Print. This Book is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Faculty Publications by an authorized administrator of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Anthony Grooms’s first collection of stories takes place mostly in the South of the 1960s, a time when the “colored” sign at a fast-food restaurant may have been removed, but “still people knew which line was which.” And the talk that animates these vignettes—from lunch counters to juke joints to family dinner tables—is an affecting reminder of the quiet courage, ingrained wariness, and rueful humor with which such individual decisions reshaped an uncertain community. —Alida Becker, The New York Times Book Review These stories all take risks by going into virtually unexplored corners of race relations at a time when critics have declared the subject mined out… Grooms’s stories take us to the center of the phenomenon with an honesty and courage long overdue. —Phil Garner, Atlanta Journal and Constitution It is to Grooms’s credit that he has demonstrated in this collection the insider’s profound knowledge of the history and the struggles of African Americans, while consistently managing to circumscribe his breadth of understanding with a tender story-telling art.