“56” by Robert FlipSide Daniels
there is a fine line between
heroism
and martyrdom and on march 3rd 1991
i watched a man nearly cross it swing
56 blows led to this king’s ransom swing
56 blows set off a chain of events some
still have yet to recover from
swing swing rodney’s life and
construction helps us understand why
building bridges of compassion was more
important
than his destructive past swing swing
swing taser this is 56 times i watched
in horror
not believing what was clear as glass in
front of my
barely 18 year old eyes swing
my mind muddied by my belief that this
is unbelievable
is this a nightmare wake up this is
happening
swing swing he was a big man he must
have deserved it
swing swing swing kick driving way too
fast for much too long swing really
rodney
100 miles per hour in a hyundai
swing he had two passengers and too much
to drink
swing swing allegedly two drugs course
through his veins
swing swing swing perhaps he was too
black
or too big in black to deserve dignity
swing
too slow to pull over too intoxicated to
realize he was being
beaten swing swing i can only imagine
what george holliday was thinking as he
recorded this historic moment
swing swing swing kick a moment that
changed my trust in who
upholds the law swing cube spoke to it
in his
fictionalized art gangsters can’t be
trusted so why should i believe these
[ _ ] with attitude swing swing
it’s hard to know what was said
but i would imagine a taser speaks volumes
swing swing swing five batons
constantly attracted to one fallen body
swing the racial slurs begin
led ironically by a man named [ _ ]
swing swing more firepower than an old
western saloon
swing swing swing kick so i guess we
should be happy they didn’t just shoot
him
swing though they did break his skull
and leg to show they mean business
swing swing truth is he was a criminal
on probation for armed robbery swing
swing swing
but did he deserve to have his criminal
mind concussed
in a savage beating swing by police
later acquitted of charges
swing swing judge declared the blow that
broke king’s leg
was not excessive swing swing
wait what hey [ __ ] stop moving
swing kick tasers they told him
not to move while hitting him repeatedly
swing
maybe he thought the police were trying
to kill him
swing swing but i’m sure action spoke
louder that night
swing hard to imagine it takes 56 baton
blows
six kicks and two tasers to subdue one
man
swing 30 years later
i’m still not over it swing
30 years later one question still
resonates
kick can’t we all just get along
you
Transcribed from the video “56” by Robert Flipside Daniels
Watch “56” by Robert FlipSide Daniels on YouTube
About the poet Robert FlipSide Daniels
In “56”, Robert FlipSide Daniels delivers a haunting and powerful reflection on the brutal beating of Rodney King at the hands of the LAPD on March 3, 1991. The poem’s title refers to the 56 baton blows that rained down on King’s body—a harrowing number that sets the tone for this piece, which is both an indictment of police brutality and a meditation on justice, race, and American history.
The repetitive “swing” motif acts as a relentless drumbeat, mirroring the vicious attack itself. Each “swing” serves as a visceral reminder of every hit, every act of dehumanization, and every moment of disbelief the poet felt as he witnessed this atrocity unfold at just 18 years old. The poem shifts between historical facts, societal commentary, and personal reflection, questioning not only the actions of law enforcement but also the system that allowed them to walk free.
FlipSide does not ignore King’s past—his criminal record, his intoxication, his reckless speeding—but he forces the reader to ask: Did any of that justify what happened to him? He juxtaposes Rodney King’s flaws with the sheer excessive force and racial injustice he suffered, highlighting how Blackness itself often becomes a justification for violence in America.
The poem also critiques the media’s portrayal and public reaction to the event. References to Ice Cube and N.W.A. emphasize the deep distrust in law enforcement that existed long before King’s beating, while the line about George Holliday, the man who recorded the attack, underscores the power of video evidence in exposing systemic abuse. And yet—even with undeniable footage—the officers were acquitted, leading to the 1992 Los Angeles Riots.
The final 30 years later refrain reminds us that the pain, trauma, and unanswered questions still linger. The poem ends with King’s own plea for unity—“Can’t we all just get along?”—a heartbreaking echo of a man who, despite being brutally beaten, still sought peace.
FlipSide’s “56” is not just a poem—it is a call to remember, to question, and to demand accountability. It serves as a chilling reminder that justice, even when caught on camera, is far from guaranteed.
To learn more about FlipSide’s poetry and powerful storytelling, visit his poet bio page here.