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LyricsTraining est la nouvelle façon d'apprendre l'anglais et d'autres langues par le biais de la musique et des paroles de tes chansons préférées

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Worksheet 1 Biopics actors and actresses motivations 

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Who are the athletes who raised their fist

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Who are the athletes who raised their fist

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Wearing beads and scarves to oppose lynchings and black socks with no shoes to highlight poverty, African American sprinters Tommie Smith and John Carlos took to the podium during the October 16, 1968, Olympic medal ceremony in Mexico City to receive their respective gold and bronze medals in the 200-meter race. But it was a single accessory-a black glove-and an accompanying gesture-a raised fist during the American national anthem-that sparked an uproar. From that moment, the two athletes would be vilified, threatened and, in some circles, celebrated.

Using the Olympic medal ceremony to show solidarity with oppressed Black people worldwide impacted both the professional and the personal lives of Smith and Carlos for years afterward. Widely deemed a "Black Power salute," the men's gesture at the podium was by no means a random act. Instead, historians say, it was a direct outgrowth of the political climate in the late 1960s.

1960s Events Spur More Urgent Activism
WATCH: 1968 Riots at the Democratic National Convention in Chicago
Both the Rev. Martin Luther King, Jr. and U.S. Sen. Robert F. Kennedy had been assassinated in 1968. Civil unrest spurred by King's killing and racial injustice spread throughout multiple cities. Vietnam War protests on and off college campuses also spread nationally. The violence police unleashed on these protesters, notably at the 1968 Democratic National Convention in Chicago, made international headlines.

Although King had consistently preached a message of nonviolence before his death, his assassination and widespread police brutality led younger activists to determine that a militant political approach would better serve them.

"Within this rise of Black power, we see athletes making very necessary connections in terms of things that they faced within sports and also things that they faced in society writ large, and also understanding that athletes had a platform that they could put to use...," says Amy Bass, professor of sport studies at Manhattanville College and author of Not the Triumph but the Struggle: The 1968 Olympics and the Making of the Black Athlete. "The spotlight that they had is a rare spotlight for Black men in 1968. So being able to commit a peaceful meaningful global protest, my goodness, that's a one-in-a-million chance."

The Olympic Project for Human Rights

Students at San Jose State University, Smith and Carlos were keenly aware of the political issues of the day and the oppression that marginalized groups faced. San Jose State sociology professor Harry Edwards founded the Olympic Project for Human Rights, which included Smith and Carlos as leaders. The project focused on the welfare of Black people globally and advocated for Black athletes. Specifically, they fought for the hiring of Black coaches and the barring of South Africa and (what is now) Zimbabwe from the Olympics for practicing apartheid.

"Edwards sort of painted himself as the originator of Black athletes making protests in American history and around the globe," says Mark S. Dyreson, a Penn State kinesiology professor and affiliate history professor. "He's standing on the shoulders of people like Jackie Robinson, Mal Whitfield, Jesse Owens and dozens of athletes that people have forgotten about."

According to Dyreson, Edwards suggested that athletes from older generations, such as Robinson, did not push hard enough for racial equality off the playing field. This overlooked Robinson's efforts in supporting the U.S. civil rights movement and against South African apartheid. "There's this much older history of Black athletic activism that's on the field and off," Dyreson adds. Smith and Carlos benefitted from the activism of athletes who had predated them. Track and field, for example, had desegregated in the early 20th century on many college campuses and other settings.

Those involved in the Olympic Project for Human Rights, including Smith and Carlos, contemplated boycotting the games. While Lou Alcindor (now Kareem Abdul-Jabbar) chose to sit out the event, Smith and Carlos opted to attend, in part, because of the opportunity to address their human rights concerns before tens of thousands of spectators.

"They demand things like the restoration of Muhammad Ali's boxing title because he was a conscientious objector in Vietnam," Bass says. "They're demanding Black coaches being added to the United States Olympic team, they're demanding that Black members be added to the International Olympic Committee and they're threatening this boycott, but most of them do go and what they sort of vote on is to protest individually."

Student Massacre in Mexico City Influences Athletes

In addition to better treatment for people of African descent worldwide, Smith and Carlos were gravely concerned over an event that happened 10 days before the Summer Games began. On October 2, 1968, Mexican military troops and police officers shot into a crowd of unarmed student protesters, killing as many as 300 youth (official estimates of the number of dead remains uncertain). This incident, along with their existing concerns about human rights, influenced the pair to make a political statement at the Olympics.

After winning the gold and the bronze medals in the 200-meter race (a white Australian athlete named Peter Norman won the silver), the duo stepped up to the podium wearing their symbolic beads, scarves, socks and gloved fists. Carlos used a black T-shirt to conceal the "USA" on his uniform to "reflect the shame I felt that my country was traveling at a snail's pace toward something that should be obvious to all people of good will," he explained later in his book, The John Carlos Story: The Sports Moment That Changed the World. Both men also wore Olympic Project for Human Rights badges, as did Norman, who'd asked how he could support their cause.

Sharing just one pair of gloves-Smith wore a glove on his right hand, and Carlos wore one on his left-the Black Olympians raised their fists as "The Star-Spangled Banner" began.

"The stadium became eerily quiet," Carlos recalled in his memoir. "...There's something awful about hearing 50,000 people go silent, like being in the eye of a hurricane." He remembered that some spectators booed them, while others shouted the national anthem at them in defiance. "They screamed it to the point where it seemed less a national anthem than a barbaric call to arms," he wrote.

Smith and Carlos Face Repercussions

Bass notes how coverage of the gesture was amplified in the United States because the 1968 Olympics marked the first time an American network had broadcast the Games. "It was a big deal," she says. "Before that, you had sort of 15-minute snippets of updates . . . and suddenly you had 44 hours of coverage. So, there's like 400 million eyes on Smith and Carlos. That's the power of post-World War II media as it's emerging."

For their peaceful protest, Smith and Carlos were suspended from the U.S. Olympic team and forced out of the Olympic Village. Death threats awaited them when they made it back to the United States. Their political statement cost them greatly, according to Douglas Hartmann, author of Race, Culture, and the Revolt of the Black Athlete: The 1968 Olympic Protests and Their Aftermath.

"The vast majority of Americans saw them as traitors, as villains or, at least, as unAmerican, unpatriotic," Hartmann says. For Smith, who was in the ROTC at the time, "That was the end of his military aspirations. Both experienced major personal challenges. Their marriages fell apart. Carlos had difficulty getting employment for many years."

The pair briefly became NFL stars, with Smith playing three seasons for the Cincinnati Bengals, and Carlos playing one year for the Philadelphia Eagles and another for the Canadian Football League. Carlos went on to become a community liaison for the 1984 Los Angeles Summer Olympics.

Both men also worked in educational settings. In 1972, Smith coached track at Oberlin College, an academic institution long known for being racially progressive. After Oberlin, Smith taught sociology and coached cross-country and track at Santa Monica College near Los Angeles. And Carlos took a job as a guidance counselor at Palm Springs High School in Southern California.

In the decades that passed, Smith took care not to describe the gesture he and Carlos made as a Black Power salute. Rather, Smith said the act "stood for the community and power in Black America," Hartmann says. "He didn't want to be seen as a radical. He was far more of a kind of traditional American individualist. You know, he was planning to go into the military. He was a patriot. He thought we needed to make a lot of changes on race, but it wasn't necessarily from a radical political point of view."

President Obama Honors Smith and Carlos

In 2008, 40 years after they raised their fists during their Olympic medal ceremony, Smith and John Carlos were honored with Arthur Ashe Award for Courage. Eight years later, then-President Barack Obama recognized them during a White House ceremony.

"Their powerful silent protest in the 1968 Games was controversial, but it woke folks up and created greater opportunity for those that followed," Obama said of Smith and Carlos, who were asked to become U.S. Olympic Committee ambassadors in 2016.

Their gesture is considered one of the most political in the history of the modern Olympic Games. But Smith remarked in the HBO documentary Fists of Freedom: The Story of the '68 Summer Games that the act did not symbolize a hatred for the U.S. flag but an acknowledgement of it.

Historian Edward Widmer, a professor in the Macaulay Honors College at the City University of New York, says it embarrassed the leadership of the United States. "It was a real reminder to the world that the U.S., which preaches human rights and democracy, was not always so strong on human rights in its own country." But, Widmer adds, "It's clear it was actually a very patriotic gesture. [Smith and Carlos] wanted America to be better and to be just for all of its people, so it was calling on America to be a better country."

For his part, Smith has described the raised fists as "a cry for freedom and for human rights," adding, "We had to be seen because we couldn't be heard."

Fact Check

We strive for accuracy and fairness. But if you see something that doesn't look right, click here to contact us! HISTORY reviews and updates its content regularly to ensure it is complete and accurate.

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Why Black American Athletes Raised Their Fists at the 1968 Olympics | HISTORY

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After sprinters Tommie Smith and John Carlos made a defiant gesture from the awards podium at the Games, they faced repercussions-but also gained respect.

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An Interview with Megan Lewis by Rebecca Juliette

Artists Work is a BmoreArt interview series that explores the work that artists do to make a living while they work on their 'real work' - their art.

Megan Lewis graduated from Ringling College Of Art and Design in 2011 with a BFA in Illustration. Utilizing various mediums, she aims to create works of art that focus upon stories that reflect a critical view of social, historical, and cultural issues.

Lewis is a freelance artist living in her hometown of Baltimore, Maryland, and has executed solo mural design projects at locations such The National Great Blacks In Wax Museum, one of Baltimore's great historical attractions. She was a 2014 - 2015 Urban Arts Leadership Member of the Greater Baltimore Cultural Alliance (UALP) and a fellow/education assistant at the Reginald F. Lewis Museum.

Name: Megan Lewis
Age: 27
Website: meganlewis1illustrator.com
Description of Art You Make:
My current work focuses on controlled narrative on brown women issues. Whether it being about beauty, fashion, body images and most important, historical information that over time has been lost or misinformed. That's where I am currently.

Day Job: Nordstrom / Freelancer

Hours per week at work: 38 hours plus freelance work
Hours per week in studio:
My freelance work I do at home on my computer because it almost always digital. My actual studio is used for my paintings.
Duties or tasks performed at day job:
Knowing too much about designer brands. When freelancing, I bring other people visions into existence.

Best thing about your day job: My discount.
How does your day job enhance or detract from your studio practice?
When I do have time to create its hasn't been personal work, commissions mostly, which I am very grateful for of course.

Favorite job ever: Muralist

Job you couldn't wait to leave:
I've enjoyed every job I've ever had, and took from it what I needed.
Is it your goal to become a full-time artist? Why or why not?
Isn't that the point? To make a living strictly off of art? Evolving into a brand? Being Self-employed? Yeah, who wouldn't want that?
What advice do you have for young artists just out of school, in terms of balancing your work and studio practice?
Surrounding yourself with creative people who are motivated and networking.

"Don't put off till tomorrow what you can do today."
What's coming up next for you as an artist? What projects are you working on or looking forward to?
I like to speak things into existence, so here we go: artist residency, more murals, more group shows, a solo show with my new art I'm working on, getting published, selling prints, continuing to teach.

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Artists Work is a BmoreArt interview series that explores the work that artists do to make a living while they work on their 'real work' - their art. Megan Lewis graduated from Ringling College Of Art and Design in 2011 with a BFA in Illustration.

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RESPECT | Official Trailer | MGM Studios

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Aretha Franklin, in full Aretha Louise Franklin, (born March 25, 1942, Memphis, Tennessee, U.S.-died August 16, 2018, Detroit, Michigan), American singer who defined the golden age of soul music of the 1960s.

Franklin's mother, Barbara, was a gospel singer and pianist. Her father, C.L. Franklin, presided over the New Bethel Baptist Church of Detroit, Michigan, and was a minister of national influence. A singer himself, he was noted for his brilliant sermons, many of which were recorded by Chess Records. Her parents separated when she was six, and Franklin remained with her father in Detroit. Her mother died when Aretha was 10. As a young teen, Franklin performed with her father on his gospel programs in major cities throughout the country and was recognized as a vocal prodigy. Her central influence, Clara Ward of the renowned Ward Singers, was a family friend. Other gospel greats of the day-Albertina Walker and Jackie Verdell-helped shape young Franklin's style. Her album The Gospel Sound of Aretha Franklin (1956) captures the electricity of her performances as a 14-year-old.

At age 18, with her father's blessing, Franklin switched from sacred to secular music. She moved to New York City, where Columbia Records executive John Hammond, who had signed Count Basie and Billie Holiday, arranged her recording contract and supervised sessions highlighting her in a blues- jazz vein. From that first session, "Today I Sing the Blues" (1960) remains a classic. But, as her Detroit friends on the Motown label enjoyed hit after hit, Franklin struggled to achieve crossover success. Columbia placed her with a variety of producers who marketed her to both adults ("If Ever You Should Leave Me," 1963) and teens ("Soulville," 1964). Without targeting any particular genre, she sang everything from Broadway ballads to youth-oriented rhythm and blues. Critics recognized her talent, but the public remained lukewarm until 1966, when she switched to Atlantic Records, where producer Jerry Wexler allowed her to sculpt her own musical identity.

At Atlantic, Franklin returned to her gospel-blues roots, and the results were sensational. "I Never Loved a Man (the Way I Love You)" (1967), recorded at Fame Studios in Florence, Alabama, was her first million-seller. Surrounded by sympathetic musicians playing spontaneous arrangements and devising the background vocals herself, Franklin refined a style associated with Ray Charles-a rousing mixture of gospel and rhythm and blues-and raised it to new heights. As a civil-rights-minded nation lent greater support to black urban music, Franklin was crowned the "Queen of Soul." " Respect," her 1967 cover of Otis Redding's spirited composition, became an anthem operating on personal, sexual, and racial levels. "Think" (1968), which Franklin wrote herself, also had more than one meaning. For the next half-dozen years, she became a hit maker of unprecedented proportions; she was "Lady Soul."

In the early 1970s she triumphed at the Fillmore West in San Francisco before an audience of flower children and on whirlwind tours of Europe and Latin America. Amazing Grace (1972), a live recording of her performance with a choir at the New Temple Missionary Baptist Church in Los Angeles, is considered one of the great gospel albums of any era. By the late 1970s disco cramped Franklin's style and eroded her popularity. But in 1982, with help from singer-songwriter-producer Luther Vandross, she was back on top with a new label, Arista, and a new dance hit, "Jump to It," followed by "Freeway of Love" (1985). A reluctant interviewee, Franklin kept her private life private, claiming that the popular perception associating her with the unhappiness of singers Bessie Smith and Billie Holiday was misinformed.

In 1987 Franklin became the first woman inducted into the Rock and Roll Hall of Fame. In addition, she received a Kennedy Center Honor in 1994, a National Medal of Arts in 1999, and the Presidential Medal of Freedom in 2005. While her album sales in the 1990s and 2000s failed to approach the numbers of previous decades, Franklin remained the Queen of Soul. In 2009 she electrified a crowd of more than one million with her performance of "My Country 'Tis of Thee" at the presidential inauguration of Barack Obama, and her rendition of Carole King's "(You Make Me Feel Like) A Natural Woman" during the Kennedy Center Honors ceremony in 2015 was no less breathtaking. The documentary Amazing Grace, which chronicles her recording of the 1972 album, premiered in 2018.

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Aretha Franklin | Biography, Songs, Albums, & Facts

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Aretha Franklin, in full Aretha Louise Franklin, (born March 25, 1942, Memphis, Tennessee, U.S.-died August 16, 2018, Detroit, Michigan), American singer who defined the golden age of soul music of the 1960s. Franklin's mother, Barbara, was a gospel singer and pianist. Her father, C.L.

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"Black lives matter!" is an American slogan; the rallying cry of all those who denounce police violence toward black people.

It means what it says: Black lives count.

You may have already seen it on demo placards, or as a hashtag on social media.

So is "Black lives matter" just a slogan?

No, it's much more! Since George Floyd's death in 2020, it's become a powerful movement in the defense of black rights.

On 25 th May, George Floyd, an African-American, was arrested and died while being held down with a policeman's knee on his neck.

It's not the first time that's happened in the US.

Black people are 3 times more likely to be killed by police officers than whites. Police officers are rarely convicted for these offences.

But this time, there was a video of George Floyd choking to death. It shocked the whole world.

Everywhere, millions of people took to the streets to express their anger. No more injustice!

Thanks to this mobilization, things are changing. In the US, several towns have modified the way police arrest people.

On 20 th April 2021, Derek Chauvin, the policeman responsible for George Floyd's death, was found guilty.

This conviction is a vital moment in the fight against racism.

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What is Black lives matter? - 1jour1actu.com

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"Black lives matter!" is an American slogan; the rallying cry of all those who denounce police violence toward black people. It means what it says: Black lives count. You may have already seen it on demo placards, or as a hashtag on social media. So is "Black lives matter" just a slogan?

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unofficial anthem of teh Black Lives Matter movement 

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unofficial anthem of teh Black Lives Matter movement 

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Andra Day - Stand Up For Something feat. Common [Official Music Video]

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Working with Common and the legendary Dianne Warren has been a dream come true for Andra. She calls Warren "one of the greatest songwriters of all time," and revealed that Common's music helped to "raise [her]." She explains:

"Working with Diane Warren and Common has been a dream come true. Diane is one of the greatest songwriters of all time, and just an incredible human being. I've admired her so much for so long, and now that I know her personally, I love her even more. And with Common, there's not much to be said there. He is a legend and I'm not just a fan, but his music really helped raise me. I know every album and every lyric, I swear. So to work with him has just been a huge honor, but even more than that, he's just proven himself to be such a human being. His heart is so big. He's just so down to earth, very relatable, and it's almost like, okay, he's so big in my mind as far as his music, his creativity, his activism, his heart, it's almost like how can you be this normal and this cool? And he really is. So it's a dream that I get to work with someone that I've admired, and really modeled pieces of my career after."

So what does Andra stand up for? Many things. She works with organizations like the Equal Justice Initiative and Urban Arts Partnership, and believes equality, unconditional love, family, and more. Andra tells us:

"I stand up for a lot of things. Like, actual organizations, and then just truths, ideas, and concepts. I stand up for equality, I stand up for truth. I stand up for love that is unconditional. For the type of love that allows people to go through ups and downs in their life without judging them, and understanding that you love someone, whether you understand them or not. I stand up for women's rights, I stand up for equal justice. I stand up for people who don't have a voice, or the voice they have is being squashed. There are a lot of organizations I work with, Equal Justice Initiative, Urban Arts Partnership, inner city youth that don't have access to certain school programs, arts programs. I stand up for artistic expression, and I stand up for my faith, my love of God. I stand up for my family. I think we all stand up for more every day than we realize we do."

Andra believes that it's important for people to hear "Stand Up For Something" because it serves as a reminder. "We need a reminder that if we're standing up for something, and we're facing seemingly insurmountable obstacles, that it's worth it to continue to fight and to continue to stand," she explains. She adds, "And, if we're not, sometimes we need that jolt to help us to get up, and to stand for something. Or, if we see something that affects us, then sometimes we need to be encouraged to say, 'Hey, the reason it's affected us is because that's what I need to be standing up for.'

And standing up for something doesn't just mean in the political sphere, it's also getting involved in your community, supporting friends and neighbors. Andra explains, "Standing up for something isn't just getting involved politically. Again, it's also supporting your friends and your neighborhood, supporting your family, loving people, caring for people through their trials, and not giving up on people. So, I think that's why it's important that people hear this song."

Marshall is in theaters now, and being a part of the movie has meant a great deal to Andra, and the singer explains how Thurgood Marshall and his story has had a lasting impact on what we stand up for today:

"The song being a part of the Marshall movie, or rather stemming from the Marshall movie, is a huge honor in so many ways. First of all, working with Reggie Hudlin is incredible. The man is really a genius. But on top of that, what Thurgood Marshall stood for, and what he gave up, what he sacrificed for the fight, for equality, for justice, that's something that we strive to live up to every single day, and he paved the way. So having the song be a part of the movie, I think it bridges two worlds. It bridges the time where he was fighting and now, still, what we fight for. He was willing to sacrifice for what he believed in, and I think if we're going to fight, that is truly the only way to do it. It has to be sacrificial. There has to be that much love. So it's an honor. It's an honor to pay tribute to his legacy, and to continue to carry it into this new generation."

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interview: andra day on the powerful message in 'stand up for something'

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INTERVIEW: Andra Day on the Powerful Message in 'Stand Up For Something' | iHeart

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Working with Common and the legendary Dianne Warren has been a dream come true for Andra. She calls Warren "one of the greatest songwriters of all time," and revealed that Common's music helped to "raise [her]." She explains: "Working with Diane Warren and Common has been a dream come true.

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A Brief History of Punk's Birth in the UK - MusicMadeUs

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A Brief History of Punk's Birth in the UK - MusicMadeUs

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A Brief History of Punk's Birth in the UK - MusicMadeUs

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Punk fashion from chaos to couture at New York's MetPunk fashion from chaos to couture at New York's MetClose

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Punk fashion from chaos to couture at New York's MetPunk fashion from chaos to couture at New York's MetClose

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The punks of the 1970s probably never thought their T-shirts, bondage trousers and studded leather jackets would be on display in one of the world's most famous art museums.

But that is exactly what has happened with a new exhibition at New York's Metropolitan Museum of Art.

Punk: Chaos to Couture focuses on the influence of punk on high fashion, mixing original clothing from the punk era with contemporary designs inspired by the subculture's rebellious aesthetic.

That independent spirit has now been absorbed into the mainstream, as the BBC's Laura Trevelyan learned when she spoke to curator Andrew Bolton and the designer Zandra Rhodes.
Produced by the BBC's Ashley Semler, Andrew Herbert and William McKenna

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The punks of the 1970s probably never thought their T-shirts, bondage trousers and studded leather jackets would be on display in one of the world's most famous art museums. But that is exactly what has happened with a new exhibition at New York's Metropolitan Museum of Art.

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Who Is Vivienne Westwood? | The Mother Of Punk-Rock Fashion

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Vivienne Westwood: 'Punk was just an excuse for people to run around'

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Vivienne Westwood: 'Punk was just an excuse for people to run around'

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Vivienne Westwood: 'Punk was just an excuse for people to run around'

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British punk fashion designer Vivienne Westwood dies at 81

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British punk fashion designer Vivienne Westwood dies at 81

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Vivienne Westwood, an influential fashion maverick who played a key role in the punk movement, died Thursday at 81.

Westwood's eponymous fashion house announced her death on social media platforms, saying she died peacefully. A cause of death was not disclosed.

29th December 2022.

Vivienne Westwood died today, peacefully and surrounded by her family, in Clapham, South London.

The world needs people like Vivienne to make a change for the better. pic.twitter.com/YQwVixYUrV
- Vivienne Westwood (@FollowWestwood) December 29, 2022

Westwood's fashion career began in the 1970s with the punk explosion, when her radical approach to urban street style took the world by storm. But she went on to enjoy a long career highlighted by a string of triumphant runway shows in London, Paris, Milan and New York.

The name Westwood became synonymous with style and attitude even as she shifted focus from year to year. Her range was vast and her work was never predictable.

As her stature grew, she seemed to transcend fashion, with her designs shown in museum collections throughout the world. The young woman who had scorned the British establishment eventually became one of its leading lights, and she used her elite position to lobby for environmental reforms even as she kept her hair dyed the bright shade of orange that became her trademark.
(FRANCE 24 with AP, Reuters)

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British punk fashion designer Vivienne Westwood dies at 81

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Vivienne Westwood, an influential fashion maverick who played a key role in the punk movement, died Thursday at 81. Westwood's eponymous fashion house announced her death on social media platforms, saying she died peacefully. A cause of death was not disclosed. 29th December 2022.

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A History of Black Futures

From Benjamin Banneker's Almanac to P. Funk's Mothership, from Octavia Butler's fiction to the Black Panther suit, Afrofuturism has provided a dynamic outlet for authors, thinkers, artists, and activists to understand and interpret the history of race and Black cultural identity.

Drawing from the past and present through a prism of technology and fantasy, Afrofuturism provides a powerful lens for imagining the African American experience. From artists to astronauts, the themes of Afrofuturism reflect the forward-facing possibilities of Black life-possibilities which stretch beyond contemporary reality.

Afrofuturism tells us about how the past thought about the future; and how African Americans dreamt of worlds they wished to occupy and soon brought into being.

Kevin Young, Andrew W. Mellon Director of the Smithsonian's National Museum of African American History and Culture

Watch this digital space to continue a journey through reimagined pasts and galactic futures as Searchable Museum expands Afrofuturism: A History of Black Futures throughout 2023.

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Skip to Content A History of Black Futures From Benjamin Banneker's Almanac to P. Funk's Mothership, from Octavia Butler's fiction to the Black Panther suit, Afrofuturism has provided a dynamic outlet for authors, thinkers, artists, and activists to understand and interpret the history of race and Black cultural identity.