A Man Was Lynched By Police Yesterday: Article Analysis

In the featured pop art piece “Race Riot,” the artist, Andy Warhol, depicts racial tension that often occurred in the mid 20th century. During the 1960s, racism was on a high among the American people, with a particular focus on the African American race that was trying to pass the American Civil Rights Movement. The art piece addresses not only Warhol’s political views, but also the inequality people faced in a land that was meant to be “free”.

He wants his readers to imagine the pain and humiliation of the ill treatment that African Americans endure on a daily basis. King writes of vicious mobs lynching people’s mothers and fathers, policemen killing people’s brothers and sisters, a man and his wife not receiving the proper respect they deserve because of their skin color, and the notion that African Americans feel insignificant within their communities; this is why these peaceful demonstrators of whom the clergymen attack “find it difficult to wait” (King, 20). However, King believes that soon, injustice will be exposed, like “a boil that can never be cured so long as it is covered up” (King, 30). This vivid description helps arouse an emotional response, driving shame into the hearts of his white readers.

This video showcases the hate between whites and blacks in the United States by combining the two separate scenes with similar ideas to reinforce the hatred and separation of the two groups. The video starts by showing a black and a white make fighting on the ground with the black male wearing work clothes and he white male wearing a confederate flag jacket with a make america great again hat. Immediately following that there is an image of a cross burning with a Klu Klux Klan effigy that is hung from another cross as if it is being executed while the artist, Kodak Black, is posing in front of it. After the introduction it jumps to a white male who appears to be trying to shoot an African American who is working in a field. These images are very political and are not found in typical music videos thus adding to the controversy.

 The Lynching n.d., Genius, accessed 24 August 2015, .

The article “Regarding the Aftermaths of Lynching” is one written by Kidada E. WIlliams, that helps explain why it is important to be interested in what happens after an individual is lynched. This is indeed Williams’ argument, which is later elaborated more on in the article. Her argument is arguable due to the fact that, even though Kidada believes that lynching should be researched, every scholar does not. Williams has stated that lynching is wrong and immoral, but there are obviously individuals that do not agree.

Let’s examine the reality of violence during the Reconstruction Era. In the document, “Southern Horrors- Lynch Laws in All its Phases, by Ida B. Wells-Barnett we see countless examples of the continued violence in the south against African-Americans. The slogan “This is white man’s country and the

Wexler’s attention to these details ensures that the lynching victims are more than flat “symbols,” constructed by a foreign and long past semiotic system, to the reader. She writes, for instance, of George Murray, or Dorsey, who had “returned [to Monroe] from the army” (167), after “four and one-half years” of service, in September 1945, that he was a man who had “love for music,” “skill as a farmer,” and a memorable smile (99). In this respect, Wexler accomplishes the same empathy for an innocent victim as the NAACP, in 1946, might have done, and in similar style—as she contends, in parallel fashion to the deceased victims’

‘Fire in a canebrake’ is quite a scorcher by Laura Wexler and which focuses on the last mass lynching which occurred in the American Deep South, the one in the heartland of rural Georgia, precisely Walton County, Georgia on 25th July, 1946, less than a year after the Second World War. Wexler narrates the story of the four black sharecroppers who met their end ‘at the hand of person’s unknown’ when an undisclosed number of white men simply shot the blacks to death. The author concentrates on the way the evidence was collected in those eerie post war times and how the FBI was actually involved in the case, but how nothing came of their extensive investigations.

Despite the important racial progresss our society has made since Emmett Till’s death, from the civil rights era, to present increase of police brutality has still left the Black/African American community in shadows of segregation. The second most recent shooting of teenager Michael Brown has left citizens in ongoing battles with law enforcement officers of Ferguson, Missouri. New Statement (2014) reports, Missouri police similarly attempted to retain control of the narrative, claiming Brown had stolen cigars, and then paying for them, and then claiming he was a bad child and attacked the officer who shot him” (New Statement, 21). Brown autopsy reveals he was gun less and shot six times. Police brutality is not solely about Ferguson, Emmett Till, or the civil rights movement, but it is simply about the history of capitalism and police brutality in America and having many forms of it.

Transition published a journal article in 1999, Issue 83 (Volume 9, Number 3) “Exquisite corpse”, written by Ashraf Rushdy. This article chronicled numerous hate crimes executed against African Americans by Caucasians as far back as 1933. The Transition article, a journal dedicated to the advancement of the African American community, written by Rushdy, look to reduce the propensity and likelihood of their constituents being lynched by the white community. It is Rushdy’s hypothesis that prominently displaying lynched cadavers, to the community, will induce a morbid reaction and remove any sense of justice legitimacy of such a repulsive activity. Rushdy, being well pedigreed, obtained both his BA and MA from Alberta and his PHD from Cambridge and is currently employed at Wesleyan as a “Professor of English” (Faculty). He is also a prominent author, having had numerous published books such as American Lynching, Remembering Generations: Race and Family in Contemporary African American Fiction, and A Guilted Age: Apologies for the Past.

The shooting of sparked a nation-wide movement not only demanding justice for Mike Brown, but also protesting the racial discrimination deeply embedded in the criminal justice system as well as various institutions in the larger American society. Furthermore, jfdkjfjdakljk something about international recognition. Similar protests and riots have been springing up in other cities since 1960s, and police killings of unarmed black men happen once every 28 hours (Kahle, 2014). However, Michael Brown’s killing has led to the most sustained uprising against police violence in at least two decades, centered among the African American residents of Ferguson, and has rallied significant nationwide support as well as international attention (Kahle, 2014; Taylor, 2014). The killing of Michael Brown is by no means an isolated event, and presence of racial tensions, especially in the St. Louis area, was already present long before. The large-scale pushback that the killing of Michael Brown has set in motion, then, seems to have been the last straw, prompting the eruption of decades of pent up frustration at a racist and oppressive system. That being said, what are the previous straws that have slowly pushed the black community in Ferguson to the breaking point? What are the factors that have caused these tensions to boil over and erupt into such a large-scale upheaval? This paper will explore some of the

The argument that the author is trying to prove is that there has been numerous of lynching events in America but it has progressed into different levels over the years to prevent African- Americans from getting a voice in America’s society. Such as, using lynching as punishment for people’s actions that were not accepted to the public community, a source of intimidation and protection of white women. Majority of white men and women tried every way to keep African- Americans at the bottom of society. Like, when blacks were free from slavery however were still not able to participate in politics, go to the best schools and were only able to work for the low paying jobs. Blacks

Recently, an L.A. Times article (dated 2/13/00) reviewed a new book entitled "Without Sanctuary", a collection of photographs from lynchings throughout America. During the course of the article, the author, Benjamin Schwarz, outlined some very interesting and disturbing facts related to this gruesome act of violence: Between 1882 and 1930, more than 3,000 people were lynched in the U.S., with approximately 80% of them taking place in the South. Though most people think only African Americans were victims of lynchings, during those years, about 25% were white. Data indicates that mobs in the West lynched 447 whites and 38 blacks; in the Midwest there were 181 white victims and 79 black; and in the South, people lynched 291

During the nineteenth century, lynching was brought to America by British Isles and after the Civil War white Americans lynching African American increased. Causing and bringing fear into their world. In the Southern United States, lynching became a method used by the whites to terrorize the Blacks and to remain in control with white supremacy. The hatred and fear that was installed into the white people’s head had caused them to turn to the lynch law. The term lynching means to be put to death by hanging by a mob action without legal sanction. So many white people were supportive of lynching because it was a sign of power that the white people had. “Lynching of the black people was used frequently by white people, their is no specific detail of how many times they had done it, but lynching of black people has lasted from 1882 to 1968. Lynching also is in fact a inhuman combination of racism and sadism which was used to support the south’s caste system,’’(Gandhi).

In the haze of these atrocities, movements like Black Lives Matter have successfully used the hate and fear that African-Americans have against the men in blue to “make