None, of course, will mention the story of his abusive, misogynist father Louis Till, who a judge offered the choice of jail or enlisting in the U.S. Army many, many moons ago. While in Italy, he was suspected in the murder of an Italian woman and the raping of two others: for these crimes, he would be court-martialed, found guilty, and executed by hanging.
|The Casket of the anti-white Covenant|
Three movies and all three will leave the final moments of Emmitt's father (and the reason for his execution, raping and killing white women in Italy) out of the script.
Minor, inconvenient details barely registering as a worth of a footnote in the hagiography surrounding Emmitt Till. After all, it's his casket that will find a final resting place in the newly opened National Museum of African American History and Culture in Washington D.C.
A building designed with solely one purpose - squeeze out every last drop of white guilt from any white visitor while simultaneously amping up black rage, hatred, and hostility to living and dead white people (standing as a "rebuke to the world of white marble monuments to dead white men") is the only fitting structure in all of the United States to house such an important artifact as Emmitt Till's casket.
Right? [Emmett Till’s casket a 'sacred object' at the African American museum, Chicago Tribune, 8-19-16]:
Among the most difficult decisions that Lonnie Bunch III had to make as he searched the world for objects to tell the story of African Americans was whether to include a casket that once held the mangled body of a murdered black boy.
"I remember struggling with, 'Should we collect that?' " said Bunch, the founding director of the National Museum of African American History and Culture.
Even after he accepted Emmett Till's casket, which Till's family gave to the museum long after his remains had been exhumed and reinterred, Bunch grappled with the idea of including it in an exhibit. "Was that too ghoulish?" he wondered.
As leaders of the new museum, Bunch and his curators must strike a delicate balance.
Every year, millions of tourists come to Washington to seek inspiration — in marble monuments to the nation's heroes and leaders, in temples of democracy and civic power. Now, for the first time, Americans will have a museum on the Mall celebrating black pioneers and highlighting the success stories of African Americans.
Excitement surrounding the historic institution propelled its boosters through 11 years of collecting artifacts and fundraising to the tune of $315 million. It will open Sept. 24 with a dedication attended by President Barack Obama and with an invitation-only Kennedy Center gala.
But for such a museum to claim scholarly integrity, uplift is not enough. In the years preceding next month's celebration, Bunch has had to consider how much of the dark corners of American history to expose. He and the museum's curators say they are ready to tell what African American historian John Hope Franklin called the "unvarnished truth" of the nation's racial past.
The question is: Are visitors ready to hear it?
As painful as it may be, Bunch said, it's essential that his institution delve into stories such as that of Till, the Chicago teenager who was murdered for whistling at a white woman during a visit to Mississippi — an event that galvanized the civil rights movement.
"You couldn't tell the story of the African American experience without wrestling with difficult issues, without creating those moments where people have to ponder the pain of slavery, segregation or racial violence," Bunch said.
But he said he also knew "that this was not a museum of crime or guilt or holocaust."No, it's just a museum built as a "rebuke to the world of white marble monuments to dead white men."
What's funny is when you consider the famed, oft-quoted line from Raiders of the Lost Ark, when the Ark of Covenant is described thusly: "The Bible speaks of the Ark leveling mountains and laying waste in entire regions. An Army that carries the Ark before it... is invincible."
Emmitt Till's casket is nothing more than a box (whose sterling, seemingly impeachable reputation is built entirely upon a hoax and the coverup of his father's execution for raping and murdering white women in Italy) that helped galvanize a movement ultimately laying waste to entire regions across the United States: St. Louis, Rochester, Baltimore, Birmingham, Memphis, Camden, Savannah, Montgomery, Atlanta, Newark, Richmond, Indianapolis, Chicago, and Charlotte.
The only item worth canonizing and displaying in a museum associated with Louis or Emmitt Till would be the rope used to have hanged the former, if it still exists.