Potter, Indianapolis Freeman, April 29, 1911 (2)

Realism With a Vengeance At Livermore, KY.

Not many people have known of such a town as Livermore, Ky. And had it not been for the tragedy there of a few days ago it would still slumber on in sweet obscurity. But alas! It was not thus to be. Livermore has distinguished itself in no uncertain way. It will not be said that the distinction is most honorable, but distinction nevertheless. 

As for the spectacular tragedy perhaps nothing in the annals of the horrible has outdone the Livermore incident. If it were aiming at “fame” at any cost, it builded better than it knew, since it sought the very fame of mimicry--the theater where is mirrored [sic] the doings of the world whether of good or evil report. Here is mockery itself [sic] mocked, and again truth outruns fiction. 

The ears are unwilling to believe that men in these days of the highest civilization have so forgotten themselves as to present such a spectacle to the age as if in illustration of the doings of the day. But there’s the evidence. It looks bad, but facts are presented and the world has nothing else to do but believe. 

The tragedy is most deplorable in view of the record hoped to be established to the extent that each year would witness less and less of the evil until the thing passed and in a manner becomes [sic] a dream. The white people no less than the Negro should be anxious for the cessation of such happenings. The State of Kentucky will have something to do to overcome the awful backset. The country at large, we think, will not view the happening with a complacent spirit, since it means a riotous disposition and which may not be careful where it will break out next. 

The particulars of the lamentable happening are as follows: : William Potter, a Negro, who went to his death last night at Livermore, Ky., in the most melodramatic scene of vengeance ever enacted. Accused of fatally shooting Frank Mitchell, a young white man of Livermore, the assailant was strung up above the stage of the Livermore opera house and a crowd of 100 men and boys all arrived, riddled his body with bullets. 

So much per shot was charged, the sum to be turned over to the Mitchell family. Early today when Potter’s body was cut down it was hanging in shreds. 

Orchestra Seats Best

Persons who were willing to pay for orchestra seats were charged double prices for the privilege of emptying their rifles or revolvers into the body of the swaying figure. Those in the gallery were granted a lower rate. The opera house was an inferno of gunshots and the sheriff, who tried to force his way in, was ordered away upon penalty of severe treatment. 

Finally a detachment of militia arrived on the scene, and, reinforced by a posse, drove the mob from the theater. The entire community was aroused and from midnight until dawn armed farmers from the surrounding country who had heard vague rumors of trouble streamed into the town, thinking a race war was in progress. All Negroes in the town were warned to keep indoors today. 

Start of Dramatic Tradegy. [sic]

The dramatic tragedy had its inception in a poolroom where Potter and Mitchell had quarreled. Potter drew a revolver and shot the white man. Town Marshal Stablet placed Potter under arrest and took him to the lockup. Within an hour a mob had formed and was menacing the jail. Half a dozen deputies were sworn in to protect the Negro and the marshal removed his prisoner to the town opera house, getting the Negro through aback door and evading the mob by a ruse. 

When the mob learned it had been tricked, the infuriated members stormed the opera house, overpowered the guards and strung Potter to a rafter. The footlights were turned on and the scenery shifted to give the scene a background. Then the shooting began. Marshall Stablet telephoned to Sheriff Beeler in Calhoun to go at once and call out a company of militia.