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The End of American Lynching questions how we think about the dynamics of lynching, what lynchings mean to the society in which they occur, how lynching is defined, and the circumstances that lead to lynching. Ashraf H. A. Rushdy looks at three lynchings over the course of the twentieth centuryone in Coatesville, Pennsylvania, in 1911, one in Marion, Indiana, in 1930, and one in Jasper, Texas, in 1998to see how Americans developed two distinct ways of thinking and talking about this act before and after the 1930s.one way takes seriously the legal and moral concept of complicity as a way to understand the dynamics of a lynching; this way of thinking can give us new perceptions into the meaning of mobs and the lynching photographs in which we find them. Another way, which developed in the 1940s and continues to influence us today, uses a strategy of denial to claim that lynchings have ended. Rushdy examines how the denial of lynching emerged and developed, providing insight into how and why we talk about lynching the way we do at the dawn of the twenty-first century. In doing so, he forces us to confront our responsibilities as American citizens and as human beings. Video Rating: / 5
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a “dragnet”, meaning a system of coordinated measures for apprehending criminals or suspects.
Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday’s deadpan, fast-talking persona emerged, described by John Dunning as “a cop’s cop, tough but not hard, conservative but caring.” (Dunning, 210) Friday’s first partner was Sergeant Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. After Yarborough’s death in 1951 (and therefore Romero’s, who also died of a heart attack, as acknowledged on the December 27, 1951 episode “The Big Sorrow”), Friday was partnered with Sergeant Ed Jacobs (December 27, 1951 – April 10, 1952, subsequently transferred to the Police Academy as an instructor), played by Barney Phillips; Officer Bill Lockwood (Ben Romero’s nephew, April 17, 1952 – May 8, 1952), played by Martin Milner (with Ken Peters taking the role for the June 12, 1952 episode “The Big Donation”); and finally Frank Smith, played first by Herb Ellis (1952), then Ben Alexander (September 21, 1952-1959). Raymond Burr was on board to play the Chief of Detectives. When Dragnet hit its stride, it became one of radio’s top-rated shows.
Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hardboiled school of crime fiction. Scripts were fast moving but didn’t seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives’ personal lives were mentioned but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero, a Mexican-American from Texas, was an ever fretful husband and father.) “Underplaying is still acting”, Webb told Time. “We try to make it as real as a guy pouring a cup of coffee.” (Dunning, 209) Los Angeles police chiefs C.B. Horrall, William A. Worton, and (later) William H. Parker were credited as consultants, and many police officers were fans.
Most of the later episodes were entitled “The Big _____”, where the key word denoted a person or thing in the plot. In numerous episodes, this would the principal suspect, victim, or physical target of the crime, but in others was often a seemingly inconsequential detail eventually revealed to be key evidence in solving the crime. For example, in “The Big Streetcar” the background noise of a passing streetcar helps to establish the location of a phone booth used by the suspect.
Throughout the series’ radio years, one can find interesting glimpses of pre-renewal Downtown L.A., still full of working class residents and the cheap bars, cafes, hotels and boarding houses which served them. At the climax of the early episode “James Vickers”, the chase leads to the Subway Terminal Building, where the robber flees into one of the tunnels only to be killed by an oncoming train. Meanwhile, by contrast, in other episodes set in outlying areas, it is clear that the locations in question are far less built up than they are today. Today, the Imperial Highway, extending 40 miles east from El Segundo to Anaheim, is a heavily used boulevard lined almost entirely with low-rise commercial development. In an early Dragnet episode scenes along the Highway, at “the road to San Pedro”, clearly indicate that it still retained much the character of a country highway at that time.
Although racially motivated murders had occurred throughout the South for decades, the circumstances surrounding Emmett Till grew beyond the details of a 14-year-old boy who had unknowingly defied a severe social caste system. About the book: https://www.amazon.com/gp/product/0812970470/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0812970470&linkCode=as2&tag=tra0c7-20&linkId=7f4d42297ef26209054844d8bb0193a6
Till’s murder brought considerations about segregation, law enforcement, relations between the North and South, the social status quo in Mississippi, the NAACP, White Citizens’ Councils, and the Cold War, all of which were played out in a drama staged in newspapers all over the U.S. and abroad. When Till went missing, a three-paragraph story was printed in the Greenwood Commonwealth and quickly picked up by other Mississippi newspapers. They reported on his death when the body was found, and the next day, when a picture of him his mother had taken the previous Christmas showing them smiling together appeared in the Jackson Daily News and Vicksburg Evening Post, editorials and letters to the editor were printed expressing shame at the people who had caused Till’s death. One read, “Now is the time for every citizen who loves the state of Mississippi to ‘Stand up and be counted’ before hoodlum white trash brings us to destruction.” The letter said that Negroes were not the downfall of Mississippi society, but whites like those in White Citizens’ Councils that condoned violence.
Till’s body was clothed, packed in lime, and put in a pine coffin and prepared for burial. It may have been embalmed while in Mississippi. Mamie Till Bradley demanded that the body be sent to Chicago; she later stated that she endeavored to halt an immediate burial in Mississippi and called several local and state authorities in Illinois and Mississippi to make sure that her son was returned to Chicago. A doctor did not examine Till post-mortem.
Mississippi’s governor, Hugh L. White, deplored the murder, asserting that local authorities should pursue a “vigorous prosecution”. He sent a telegram to the national offices of the NAACP promising a full investigation and assuring them “Mississippi does not condone such conduct”. Delta residents, both black and white, also distanced themselves from Till’s murder, finding the circumstances abhorrent. Local newspaper editorials denounced the murderers without question. Leflore County Deputy Sheriff John Cothran stated, “The white people around here feel pretty mad about the way that poor little boy was treated, and they won’t stand for this.”
Soon, however, discourse about Till’s murder became more complex. Robert B. Patterson, executive secretary of the segregationist White Citizens’ Council, lamented Till’s death by reiterating that racial segregation policies were in force for blacks’ safety and that their efforts were being neutralized by the NAACP. In response, NAACP executive secretary Roy Wilkins characterized the incident as a lynching and stated that Mississippi was trying to maintain white supremacy through murder, and “there is in the entire state no restraining influence of decency, not in the state capital, among the daily newspapers, the clergy, nor any segment of the so-called better citizens”. Mamie Till Bradley told a reporter that she would seek legal aid to help law enforcement find her son’s killers and that the State of Mississippi should share the financial responsibility. She was misquoted; it came out as “Mississippi is going to pay for this”.
The A. A. Rayner Funeral Home in Chicago received Till’s body, and upon arrival, Bradley insisted on viewing it to make a positive identification, later stating that the stench from it was noticeable two blocks away. She decided to have an open casket funeral, saying “There was just no way I could describe what was in that box. No way. And I just wanted the world to see.” Tens of thousands of people lined the street outside the mortuary to view Till’s body, and days later thousands more attended his funeral at Roberts Temple Church of God in Christ. Photographs of his mutilated corpse circulated around the country, notably appearing in Jet magazine and The Chicago Defender, both black publications, and drew intense public reaction. According to The Nation and Newsweek, Chicago’s black community was “aroused as it has not been over any similar act in recent history”. Till was buried on September 6 in Burr Oak Cemetery in Alsip, Illinois.
http://en.wikipedia.org/wiki/Emmett_Till Video Rating: / 5