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"This handbook offers a comprehensive historical overview and analysis of police brutality in US history and the variety of ways it has manifested itself - Police brutality has been a defining controversy of the modern age, brought into focus most readily by the murder of George Floyd in Minneapolis and the mass protests that occurred as a result in 2020. However, the problem of police brutality has been consistent throughout American history. This volume traces its history back to Antebellum slavery, through the Gilded Age, the Progressive Era, the two world wars and the twentieth century, to the present day. This handbook is designed to create a generally holistic picture of the phenomenon of police brutality in the United States in all of its major lived forms and confronts a wide range of topics including: Race Ethnicity Gender Police reactions to protest movements (particularly as they relate to the counterculture and opposition to the Vietnam War) Legal and legislative outgrowths against police brutality The representations of police brutality in popular culture forms like film and music The role of technology in publicizing such abuses, and the protest movements mounted against it The Routledge History of Police Brutality in America will provide a vital reference work for students and scholars of American history, African-American history, criminal justice, sociology, anthropology, and Africana studies"--

Frontmatter -- Contents -- LIST OF ILLUSTRATIONS -- Introduction -- 1. The Sense of Smell -- 2. The Mountains of Denver -- 3. The Infection Spreads -- 4. The Academy Responds -- 5. The Devil in the Room -- 6. The Glue Summit -- 7. The Pursuit of the Monster -- 8. The Law Down South -- 9. The Lingering Evil -- 10. The Children's Crusade -- Conclusion -- APPENDIX 1. A Description of Active Chemicals in Organic Solvents -- APPENDIX 2. A Documentary Account of Glue-Sniffing Legislation in the Deep South -- APPENDIX 3. Profile of Glue Sniffers across the Nation -- NOTES -- BIBLIOGRAPHY -- INDEX

In 1959, Alan Abel began sending out a series of press releases to American media outlets credited to a new organization, The Society for Indecency to Naked Animals. Using the language of conservative moralists opposed to the changes in postwar society, he argued that 'naked' animals were scandalous and needed to be clothed. Pets, farm animals, and wildlife were all included, as the organization hued to slogans like 'a nude horse is a rude horse' and 'decency today means morality tomorrow'. Abel employed comedian Buck Henry to play the organization's president, G. Clifford Prout, who gave interviews and speeches covered widely by the mainstream press. Over the next four years, Prout and the group were featured on every major American newscast. The hoax was exposed in late 1962 after he gave an interview to Walter Cronkite. The following year, Time magazine officially debunked the existence of the group. It was an elaborate hoax, but it was also a satire, using animals to critique moralists attempting to ban books and music for indecency. In so doing, the group also unintentionally laid bare American contradictory thinking about animals, as clothing nonhuman animals and worrying about their 'indecency' assumed that they had some level of agency. The United States, for example, had always classified the killing of those wearing clothes as murder. Thus it was that while the satire of The Society for Indecency to Naked Animals was directed toward human moralists, the content of its crusade focused exclusively on nonhumans, raising clear questions about their role in human society.

Abstract
The historiography of police brutality usually frames the phenomenon in urban settings, one that has existed since the first police forces of the antebellum period and was given its ultimate succor in the development of ethnic enclaves policed by white cops in the throes of the Great Migration and proliferating in the aftermath of World War II. This analysis interprets police brutality as a function of the structure and culture of policing. The violence of southern policing is in no way ignored by historians but is framed less as a function of racism in policing and more as a function of southern racist culture, of which policing is a constituent part.
But the systematic police brutality that existed in the small-town South in the decade following World War II was a brutality that was fundamentally dependent on a racist culture in the police force and carried out by white officers who abused the rights of Black citizens, assuming that their status as policemen and the racial assumptions of all-white juries would protect them. Such was the case in Valdosta. The murder of Willie Watson, featured in this article, would bring federal charges and national attention, but it did not exist in a vacuum. It was part of a culture of racist postwar police brutality that existed in Valdosta and southwest Georgia.
Police brutality in places like New Orleans and Birmingham is significant for understanding the evolving postwar demographics of the urban South, but the region was still predominantly rural at World War II's close, relying on more moderately sized cities as cultural and economic hubs. There were, in other words, far more Valdostas in the postwar South than there were New Orleanses, making the smaller southwest Georgia city a better representative model for the broader postwar southern experience with race and policing. It also serves as a representative model for the trajectory of responses to police brutality more broadly, as the traditional civil rights narrative places responses to the violence of law enforcement as an outgrowth of new Black militancy later in the movement, a northern phenomenon and creature of the mid- to late 1960s.

The colored press -- The new era -- The Negro's reactions to the World War -- The Negroe's grievances and demands -- Riots -- Lynchings -- The South and the Negro -- The Negro and labor unionism and Bolshevism -- Negro progress -- The lyric cry

The movement of otherthanhuman-animals (henceforth OTHA) across human-defined borders are often categorised depending upon human-assigned categories such as 'invasive', 'introduced', 'non-native' or 'migrating'. However, there is a paucity of literature categorising OTHAs, from a posthuman, anthrozoological view, as immigrants. This paper examines, through the dual lenses of posthumanism and anthrozoology, five scenarios for OTHA immigrants. First, how pigs became pawns in America's New World, due to the continued unwillingness of humans to see the agency of OTHAs; secondly, what does the action of co-immigrating with our companion-animals say about our relationships with the accompanying OTHA? Next, whether the UK, a self-declared 'nation of animal lovers' is suffering from zoo-xenophobia, a form of xenophobia towards immigrant dogs? Then, an examination of elephant-human interactions in Nepal across Nepalese-Indian borders seems to indicate that tensions should decrease as the elephant immigrant population declines, but is not the case. Finally, how zoo-animal immigration, means an OTHA's belonging to a zoological collection is often transitory in nature and so not afforded citizenship. Each case discusses the fluidity of OTHA immigrant membership of a human-constructed category, which may waiver as the OTHA is able to fulfill human needs or become an unwitting transgressor of social and political desires, fears and conflicts.

Intro -- Contents -- Preface -- Acknowledgments -- Introduction -- 1. Slave Revolt at Sea: The Rebels of the Amistad, 1839 by Marcus Rediker -- I. Encounters -- 2. The Talons: A Seventeenth-Century Captivity Saga by Benjamin Mark Allen -- 3. "Home Away from Home": The Cameroon Diaspora in the United States by Emmanuel M. Mbah -- II. Commodities -- 4. "The Second Fallen Adam": William Adam and Nineteenth-Century Transatlantic Reform by Julie L. Holcomb -- 5. "The Ties That Bind": Dallas, Lancashire, and the Cotton Trade by Tom Aiello -- III. Identities -- 6. Working for Leisure British Hunter-Writers in the American West, 1865-1914 by Gregory Kosc -- 7. "No Whiskey: A Liter of Vodka, and a Pickle Instead": The American West in Polish Cinema and Literature during the Cold War by Pawel Goral -- About the Contributors -- Index.