Roy Bryant: Celebs Rumors

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Voices: Why I can’t celebrate Carolyn Bryant Donham’s death

killing in a 1956 interview with Look magazine. At that trial, Donham described Till’s actions toward her as sexually aggressive. More than 50 years later, Donham confessed to Duke University historian Timothy B Tyson that she had perjured herself on the witness stand to make Emmett’s conduct sound more threatening than it actually was.
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‘Till’ Review: Chinonye Chukwu Re-Centers the Story of a Hate-Crime Victim on the Mother Who Made History
Peter Debruge Chief Film Critic Growing up in Texas toward the tail end of the 20th century, I was not taught about Emmett Till. I’ve learned about him since, of course. Till’s name adorns this year’s overdue federal antilynching act, and his tragic fate has inspired plays and films, including 2018’s Oscar-nominated short, “My Nephew Emmett,” and now a powerful new feature from Chinonye Chukwu, who gave Alfre Woodard one of her greatest roles in 2019 Sundance winner “Clemency.” Till’s story — that of a 14-year-old Black boy from Chicago who was kidnapped in the middle of the night and lynched while visiting his family in Mississippi — may have been omitted from my Southern schooling for racist reasons, though I suspect it had as much to do with Western culture’s “great man” bias. History, as a field of study, celebrates the achievements of heroic individuals. Nat Turner, Harriet Tubman, Rosa Parks. Those names were all taught. But Emmett Till was a kid whose murder galvanized the American civil rights movement, and it has taken a different kind of thinking — à la “Say Their Names” campaign or Ryan Coogler’s “Fruitvale Station” — to position victims in the public’s mind.
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