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The cover of
The American Negro recreates a lynching postcard, perverse mementos that 19th and 20th century white Americans would pass around like trading cards. Some postcards would center the victims, gawking at their violated bodies with lurid satisfaction. Others would emphasize the crowd of onlookers, inviting the viewer, presumed to be white, to participate in the dayâs activity. Adrian Younge gestures at this grim history and its continuation into the presentâthe date on the postcard is crossed outâbut no moment on
The American Negro ever brings these charged subjects to life.
Paired with a podcast series and a short film,