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Kids learn about the history of the March on Washington including Martin Luther King's I Have a Dream speech, the Big Six planners, and the results such as Civil Rights Act in 1964.

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Pick out an inspiring quote from a Black rights activist

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Pick out an inspiring quote from a Black rights activist

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Justify
https://www.brainyquote.com/topics/civil_rights_movement

https://quotes.thefamouspeople.com/civil-rights-activists.php

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"If you're not angry, you're either a stone, or you're too sick to be angry. You should be angry. You must not be bitter. Bitterness is like cancer. It eats upon the host. It doesn't do anything to the object of its displeasure. So use that anger, yes. You write it. You paint it. You dance it. You march it. You vote it. You do everything about it. You talk it. Never stop talking it."
― Maya Angelou

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"If you're not angry, you're either a stone, or you're too sick to be angry. You should be angry. You must not be bitter. Bitterness is like cancer. It eats upon the host. It doesn't do anything to the object of its displeasure. So use that anger, yes. You write it.

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Eyes on the Prize is an American television series and 14-part documentary about the Civil Rights Movement in the United States. The documentary originally aired on the PBS network and also aired in the United Kingdom on BBC2.

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How can individuals change the course of History?

From slavery, segregation to a black President, the lives of African-Americans in the USA have shifted to extremes. Throughout the years, people stood up for their still fragile rights.
For "African-American History Month", you want to pay a tribute to some extraordinary people, giving a voice to the voiceless.

Create a Timeline (that will be exposed in your high school) with African-American figures in History.
Each group must take care of one person :
-(choose) the historical figure,
-choose the right picture to represent AND Blabberize them
-add sound: your voice presenting this person and why she/he matters + background (music or speech)
-Print a QR code and stick it to your poster.

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CE_http://cle.ens-lyon.fr/187-a-dream-come-true-/mr-brainwash-s-wall-painting-114380.kjsp?RH=CDL_MAN000000

CE_http://cle.ens-lyon.fr/187-angela-davis-becoming-an-icon/negotiating-the-transformations-of-history-220180.kjsp?RH=CDL_MAN000000

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Doc icono + EO (PPC/PPI):
Reconnaître les références

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vidéo, origins of BHM

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A brief look at the history of African Americans and Black History Month.

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Marcus gravey / F. Douglass / Huey Newton / Thurgood Marshall

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Marcus gravey / F. Douglass / Huey Newton / Thurgood Marshall

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Madam CJ Walker/Oprah
G. Herriman/Basquiat?
Jesse Owens/I.Muhammad
The Lovings
Hidden Figures
aNGELA Davis
NFL players
Gil Scott Heron/
BHoliday/AKeys

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t could be considered deeply ironic that a group plans this week to protest outside the National Football League's headquarters in New York against Beyoncé's "racist" half-time performance at the Super Bowl. For the performance was all about the new-style protests against racial discrimination that have been surging through America, in the form of civil rights grassroots movements such as Black Lives Matter.

If it goes ahead, the demonstration will protest about ... another protest: a far larger, infinitely more important one, dealing with what it means to be black in America, the kind that doesn't fit neatly outside the NFL's HQ.

One consequence of Beyoncé's performance is a shift in the way she's being framed in some quarters. One description of the Super Bowl event I keep seeing is "unapologetically black". This alludes to the dancers in Black Panther berets performing black power salutes, arranging themselves into the letter "X" for Malcolm, and the homemade sign (said to be unscripted), demanding "Justice for Mario Woods", the victim of a San Francisco police shooting whose case has been a BLM rallying point.

Then there's the song " Formation" (a surprise release and Beyoncé's first in 14 months), and the accompanying video (using footage from the New Orleans music documentary ). In it she references, among other things, Black Lives Matter, civil rights generally, slogans such as "Stop shooting us", riot police, the shamefully sluggish official response to Hurricane Katrina (where poor, predominantly black lives were clearly deemed not to matter). "I like my baby hair and afros. I like my Negro nose with Jackson 5 nostrils, " she states.

Employing words and visuals to gritty and poetic effect - cleverly eschewing blunt aggression, the key accent is languid, dream-like menace - the message of "Formation" pounds through, like an elegant, detailed, modern civil rights seminar. It's an education, if you will, on the black American experience, past and present.

At this point, even long-time fans of Beyoncé (and I'm one of them) could be forgiven for wondering how she got here? How did one of the globe's consummate mainstream superstars manage to reposition herself as a lightning rod for radical politicised black America?

The answer: in some ways, yes, arriving here is surprising; in others, not so much. The element of surprise mainly relates to Beyoncé's carefully plotted and executed long game as an artist - from her beginnings, managed by her father, Mathew, as the blatant main draw in Destiny's Child, through to her film appearances in the likes of Dream Girls and Cadillac Records, and, most notably, her instant stellar success with early solo albums such as Dangerously in Love, the rather unfortunately named B'Day, and I Am ... Sasha Fierce (introducing her alter ego).

In hindsight, there's always a danger that such achievements could start to look pre-ordained, when of course they were anything but. While Beyoncé's dance moves (and thighs) had their own wow-factor (as evidenced in the video for "Crazy in Love"), she should be given due credit for becoming a crossover artist in excelsis.

Always a "black" artist, firmly entrenched in high-grade R&B, soul, hip-hop, roots and disco - her Super Bowl costume was said to be an homage to Michael Jackson - Beyoncé was never going to end up as a backing singer. Her undoubted talent was long fuelled by a determination to be placed where she deserved to be, firmly centre-stage, at the heart of the mainstream.

Sometimes, this could lead to artistic stiffness - a live show I saw, while amazing, occasionally exuded the distinctly corporate "on-message" feel peculiar to certain superstars who cannot bear to tear their eyes off the main prize, even when, as artists, they should be immersed in the moment.

Other accusations levelled at Beyoncé include a success/money-obsession (even in "Formation" she says "best revenge is your paper"), although a counter-accusation could be some people's obsession with portraying uber-consumerism as a black-only trope.

Beyoncé has also been criticised for being a bad feminist, although I'm not so sure about that. "Single Ladies (Put a Ring on It)" had a comically dodgy theme, but, from early on, Beyoncé was thanking feminism for giving her confidence in life and relationships. Similarly, to those complaining that Beyoncé's scantily clad, hip-thrusting performance at the Super Bowl was "hardly Bob Dylan", it's a different genre, sweeties (do try to keep up). Besides, sneering at the mode of protest rather than examining what the protest is about is an old method of silencing and cowing.

Then there were the recurring accusations that she looked as if she might have undergone a process to lighten her skin - no proof was ever offered. Both in person, and in adverts such as those for L'Oréal, she's been criticised for looking "too white" and contributing to young black girls' anxiety over their appearance, or at least not helping matters. On the face of it, from there to the "Jackson 5 nostrils" sentiments of "Formation" does seem quite a leap.

Mind you, is it really so surprising, or just more overt? Did Beyoncé seem any less proudly "Black with a capital B" when she was singing "At Last" to the Obamas at their inauguration dance? Or when she (and her husband, Jay Z) endured people moaning ridiculously about their headlining slots not being right for "rock festival" Glastonbury? Was Beyoncé any less politicised when she and Kelly Rowland started a charity to help the Hurricane Katrina survivors? Or when she and Jay Z donated generously to civil rights charities? There also appears to be a multifaceted timing element at play. It's the 50th anniversary of the formation of the Black Panther party. "Formation" was released on what would have been the 21st birthday of Trayvon Martin (another high profile shooting and BLM cause). Barack Obama is an outgoing president, while Donald Trump (and the Donald Trump mindset) is dominating the headlines.

There's the recent Oscars row and a growing restlessness in the music industry, with Nicki Minaj, for one, being extremely vocal about black under-representation. (Ever savvy to changing trends, Beyoncé's eponymously titled previous album already heralded an edgier direction in her musical style). Moreover, there's Beyoncé's "personal timing" - a mother in her mid-30s, she wouldn't be the first woman to become more politically aware and active as she became older. Then, of course, there's the other kind of timing relating to the genius marketing ploy of surprise-releasing a song, causing a huge global rumpus at the Super Bowl (also starring, lest we forget, Bruno Mars and Coldplay), then announcing your 40-date world tour straight afterwards.

It's possible to admire her business acumen (not so much "I have a dream" as "I have a tour to promote") and at the same time acknowledging that perhaps only someone such as Beyoncé, with a powerful international reach, could have made such an enormous zeitgeist-ruffling impact.

Beyoncé also risked something very real regarding her mainstream persona. Not only among those prone to panic when confronted by politics, but more generally. After all, with a single performance, she has become as synonymous with black rights as film director, Spike Lee, was in the 1980s. Which, in turn, ties in to the interesting debate about why black success is so often viewed as a tangled fraught compromise between cultures, when white success can just be success?

Why does Beyoncé have to choose to represent or not represent "her" culture, when, say, Madonna isn't required to bang on about being an Italian Catholic the whole time?

In this instance, Beyoncé chose to represent a cause, and in great style. Should it go ahead, the NFL protest is going to seem a mite underwhelming considering what black activists have been protesting about.

Beyoncé sings in Destiny's Child in 2000. Photograph: Startraks Photo/REX

THE BEYONCE FILE

Born Beyoncé Giselle Knowles in Houston, Texas on 4 September, 1981. Her mother worked as a hairdresser and salon owner and her father was a Xerox sales manager. She began singing and dancing in local talent shows at an early age and attended a specialist music school, Parker Elementary School.

By her early teens she was performing with Kelly Rowlands, LaTavia Roberson and LeToya Luckett in Girl's Tyme, which was later to become Destiny's Child. Married to Jay Z with one daughter, Blue Ivy.

Best of times Her 2003 album Dangerously in Love established her as a solo artist worldwide, picking up five Grammy Awards.

Worst of times Splitting from her long-time manager, her father, in 2011. Mathew Knowles had managed her career since she auditioned as a teen. Knowles insisted it was a business decision and not related to his divorce from Beyoncé's mother, Tina.

What she says "I'm over being a pop star. I don't wanna be a hot girl. I wanna be iconic."

What others say "The most important and compelling popular musician of the 21st century." Jody Rosen, The New Yorker music critic.

This article was amended on 4 April 2022. An earlier version incorrectly referred to the killing of Trayvon Martin as a "police shooting"; Martin was shot by a member of the public who was neighbourhood watch volunteer.

This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. By clicking on an affiliate link, you accept that third-party cookies will be set. More information.

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Beyoncé: the superstar who brought black power to the Super Bowl | Observer profile

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With her spectacular intervention in front of millions of TV viewers, Beyoncé brought radical politics to mainstream pop. What is behind her journey to the heart of the new civil rights movement?

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As one of the world's leading entertainers, Beyonce would have been justified in seeking the weekend off.

Instead, it was a little busier than normal.

On Saturday, she released a previously unannounced new single, with a politically charged video.

On Sunday, she performed at half-time of the 50th Super Bowl, American football's end-of-season extravaganza and the most-watched television event of the year in the United States.

Soon after, she announced a 40-date world tour that will start in late April in Miami.

But it was her Super Bowl show in California, referencing celebrated black figures of the past and recent black history, that gained the headlines.
Super Bowl 50: Denver Broncos beat Carolina Panthers
Some context - the new single

Formation is Beyonce's first new solo single in 14 months.

In it, she refers to the Black Lives Matter movement, details what it is to be black in 2016 United States and sings: "I like my baby hair with baby hair and afros, I like my Negro nose with Jackson 5 nostrils."

In what mic.com described as "one of the most political music videos in recent memory", she is seen lying on top of a New Orleans police car that sinks into water, a clear reference to Hurricane Katrina, which ravaged mainly black communities in 2005.

New South Negress journal wrote that, in the video, Beyonce "becomes every black southern woman possible for her to reasonably inhabit, moving through time, class, and space".

It was this song she launched into at the Super Bowl.
Beyonce surprises with 'Formation' Black Lives Matter seen through a lens Why do US police keep killing unarmed black men?
The backing dancers

Even before the performance, when images of the backing artists were posted from backstage, plenty of people picked up on the visual reference - the berets of the Black Panther Party.

A militant organisation that rejected the non-violent ideals of Martin Luther King, the party was set up 50 years ago to defend black people against violence.

The group was established in Oakland, barely 40 miles (64km) from the stadium in Santa Clara where Beyonce performed on Sunday.

At one point, the singer and her backing dancers raised a fist into the air, mimicking the Black Panthers' salute.

The reference did not go unnoticed:

Her outfit

At the end of the musical segment, which also featured Coldplay and Bruno Mars, a compilation aired showing some of the most memorable Super Bowl performances of the past.

Among them was Michael Jackson's show in 1993, but in truth, that performance had been marked by Beyonce already.

Beyonce has hailed Jackson's influence in the past, saying "Michael Jackson changed me, and helped me to become the artist I am".

The X formation

At one point, Beyonce and her dancers formed a large 'X' shape. They also formed an arrow, straight lines and a triangle, but it was this particular formation that people noticed.

Malcolm X, the black civil rights leader, was shot dead in 1965.

Three years ago, Beyonce's sister, Solange Knowles, was seen carrying a placard quoting Malcolm X in protest against the decision to acquit George Zimmerman of the murder of unarmed black teenager Trayvon Martin in Florida.

'Justice 4 Mario Woods'

It wasn't strictly part of the performance, but images later did the round on social media of Beyonce's dancers holding a sign while in the centre of the field.

Mario Woods, 26, was shot dead by police in San Francisco in December. Pressure by civil rights groups has led the US Justice Department to open an investigation into the shooting.

Police in cities throughout the US have been subjected to intense scrutiny for using excessive and lethal force against suspects, many of them black.

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Why was Beyonce's Super Bowl show significant?

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As one of the world's leading entertainers, Beyonce would have been justified in seeking the weekend off. Instead, it was a little busier than normal. On Saturday, she released a previously unannounced new single, with a politically charged video.

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MY HERO celebrates Black History Month around the globe in recognition and appreciation of the contributions and achievements of people of African descent in politics, the arts, education, business, science, and literature.,The heroes below struggled with adversity to achieve equal rights.

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AFRICAN-AMERICAN MINORITIES (ÉCRIT SÉRIES TECHNO LV1)

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AFRICAN-AMERICAN MINORITIES (ÉCRIT SÉRIES TECHNO LV1)

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Lieux et formes du pouvoir

Type : Écrit LV1 | Année : 2012 | Académie : Sujet zéro

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O rlando, Florida (Reuters) - The family of a 17-year-old African-American boy shot to death last month in his gated Florida community by a white Neighborhood Watch captain wants to see the captain arrested, the family's lawyer said on Wednesday.

Trayvon Martin was shot dead after he took a break from watching NBA All-Star game television coverage to walk 10 minutes to a convenience store to buy snacks including Skittles candy requested by his 13-year-old brother, Chad, the family's lawyer Ben Crump said.

"He was a good kid," Crump said in an interview, adding that the family would issue a call for the Watch captain's arrest at a news conference on Thursday. "On his way home, a Neighborhood Watch loose cannon shot and killed him."

Trayvon, who lived in Miami with his mother, had been visiting his father and stepmother in a gated townhome community called The Retreat at Twin Lakes in Sanford, 20 miles north of Orlando.

As Trayvon returned to the townhome, Sanford police received a 911 call reporting a suspicious person.

Although names are blacked out on the police report, Crump and media reports at the time of the shooting identified the caller as George Zimmerman who is listed in the community's newsletter as the Neighborhood Watch captain.

Without waiting for police to arrive, Crump said, Zimmerman confronted Trayvon, who was on the sidewalk near his home. By the time police got there, Trayvon was dead of a single gunshot to the chest.

"What do the police find in his pocket? Skittles 1," Crump said. "A can of Arizona ice tea in his jacket pocket and Skittles in his front pocket for his brother Chad."

Zimmerman could not be reached for comment on Wednesday evening at a phone number listed for him on the community's newsletter.

Crump said the family was concerned that police might decide to consider the shooting as selfdefense, and that police have ignored the family's request for a copy of the original 911 call, which they think will shed light on the incidents.

"If the 911 protocol across the country held to form here, they told him not to get involved. He disobeyed that order," said Ryan Julison, a spokesman for the family.

"He (Zimmerman) didn't have to get out of his car," said Crump, who has prepared a public records lawsuit to file on Thursday if the family doesn't get the 911 tape. "If he never gets out of his car, there is no reason for self-defense. Trayvon only has Skittles. He has the gun."

Since Trayvon, a high school junior who wanted to be a pilot, was black and Zimmerman is white, Crump said race is "the 600 pound elephant in the room."

"Why is this kid suspicious in the first place? I think a stereotype must have been placed on the kid," Crump said.

Barbara Liston, Reuters, 7 th March 2012.

1. Skittles: marque de bonbons.

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African-American minorities (écrit séries techno LV1)

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O rlando, Florida (Reuters) - The family of a 17-year-old ­African-American boy shot to death last month in his gated Florida community by a white Neighborhood Watch captain wants to see the captain arrested, the family's lawyer said on Wednesday.

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//Claudette Colvin http://atlantablackstar.com/2014/02/23/10-black-heroes-who-usually-go-unrecognized-during-black-history-month-but-shouldnt/4/

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Bet You Didnt Know March on Washington  History

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Barack Obama delivered one of the most poignant speeches of his presidency on Saturday, using the backdrop of Selma's Edmund Pettus Bridge to call for an end to the discrimination he said still casts "a long shadow" over America.

Barack Obama delivered one of the most poignant speeches of his presidency on Saturday, using the backdrop of Selma's Edmund Pettus Bridge to call for an end to the discrimination he said still casts "a long shadow" over America.

"Fifty years from Bloody Sunday, our march is not yet finished," the president told tens of thousands who converged on the Alabama town. "But we are getting closer."

In a segment of the speech that linked this week's Department of Justice (DoJ) report that condemned racist policing tactics in Ferguson, Missouri with a famous quote by civil rights leader Martin Luther King, Obama said it was a common mistake to assume racism had been banished from the US.

"We don't need the Ferguson report to know that's not true," he said. "We just need to open our eyes, and ears, and hearts, to know that this nation's racial history still casts its long shadow upon us."

"We know the march is not yet over, the race is not yet won, and that reaching that blessed destination where we are judged by the content of our character requires admitting as much."

Obama's address from the bridge - commemorating the 50th anniversary of the crackdown on civil rights protesters that became known as Bloody Sunday - was laden with symbolism.

In 1965, television pictures of Alabama state troopers clubbing non-violent marchers who were crossing the bridge on route to Montgomery, Alabama's state capital, shocked America.

The eventual triumph of the marchers, weeks later, was a landmark event in the civil rights movement, helping pave the way to that year's Voting Rights Act and, the president has said, to his own ascendancy to the White House.

It was a largely positive, optimistic speech. "We shall overcome," Obama said, fusing the words of the famous civil rights protest song with the slogan that first got him elected in 2008: "Yes We Can."

'We still got a white country club here'

The mood of those who had driven in some cases thousands of miles to mark a landmark in civil rights history was by turns raucous, celebratory and solemn.

There were screams when Obama's motorcade appeared over the bridge and boos when Alabama's current Republican governor, Robert Bentley, took to the stage.

One small group of demonstrators repeatedly interrupted the president with a drum beat and chants about police shootings of unarmed black men. Arguments broke out to the left of the stage and one woman was carried away by Alabama state troopers.

But during several long periods of Obama's speech, the audience fell silent, listening intently.

On the day the marchers were beaten back, an 11-year-old boy named Marti Tolbert was standing on the roof of the tallest building in Selma, Teppers Department Store.

"I saw smoke," said Tolbert, now 61. "People running, hollering. Blood on people's faces. The terror of it. The thing I really remember is that white people weren't just using billy clubs but beating down people with table legs."

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A woman is carried away by police officers. Photograph: Paul Lewis/the Guardian

On Saturday, Tolbert, who still lives in Selma, watched the first black president shake hands with supporters at the foot of the same bridge, surrounded by white secret service agents.

Tolbert was tearful, but found it hard to explain his emotions. He said there was a disconnect between the symbolism of Obama's visit and the everyday reality of living in a still effectively racially segregated town.

"We still got a white country club here. The only way I can go in there is if I cut the grass," he said. "You ever go to a town, and when you arrive, you feel bad inside? There's something still real bad about Selma today, but it is home."

Six years into Obama's presidency, the stark economic, racial and political inequality that constrains African Americans has barely changed. By some measures it has worsened.

The last 12 months have proved an especially turbulent period for race relations after a string of disturbing police killings of unarmed black men and boys, including Eric Garner in New York and Michael Brown in Ferguson.

Obama alluded to both deaths as well as that of a 12-year-old boy, Tamir Rice, who was shot by police while playing with a toy gun in Cleveland, Ohio.

"Citizens in Ferguson and New York and Cleveland just want the same thing young people here marched for," the president said. "The protection of the law."

'The report's narrative was woefully familiar'

Obama twice drew on the findings of a scathing DoJ report that concluded on Wednesday that there was a pattern of racist discrimination perpetrated by the police department and court system in Ferguson, Missouri, where Brown was shot dead last August.

"I was asked whether I thought the Department of Justice's Ferguson report shows that, with respect to race, little has changed in this country," he said.

"I understand the question, for the report's narrative was woefully familiar. It evoked the kind of abuse and disregard for citizens that spawned the civil rights movement."

Obama said that what happened Ferguson "may not be unique, but it's no longer endemic", and added: "We do a disservice to the cause of justice by intimating that bias and discrimination are immutable, or that racial division is inherent to America."

While dedicating sections of the speech to the problems that afflict African Americans in particular, Obama's address was a call to broaden the civil rights movement for the modern era, touching on the barriers to equality that still constrain the freedoms of women, Latino immigrants and gay people.

The speech mentioned Asian Americans, slaves, cowboys, Holocaust survivors, Native Americans, former presidents, Christians, poets, musicians, a journalist and a baseball player.

It was, at its heart, a stirring and optimistic speech about what Obama said was the exceptional diversity of America - and a celebration of what the country has achieved, and still can achieve, despite adversity.

"We respect the past, but we don't pine for it," Obama said. "We don't fear the future: we grab for it."

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President Barack Obama, first lady Michelle Obama, Malia and Sasha Obama, members of Congress and civil rights leaders cross the Edmund Pettus Bridge. Photograph: Gerald Herbert/AP

Obama's picture of a united, diverse citizenry was not, however, mirrored in the crowd. The audience was predominantly black - seemingly composed of fewer white faces than descended on Selma in a show of solidarity in the aftermath of Bloody Sunday.

Organisers said more than 100,000 were present, while city officials estimated the crowd was closer to 40,000.

Either way, tens of thousands intend to remain in the town for Sunday, when the official re-enactment of the bridge crossing will take place.

Also present on Saturday were Obama's predecessor, George W Bush, and more than 100 representatives and senators, Democratic and Republican, who traveled from Washington.

The president used the appearance to urge those lawmakers to revive the Voting Rights Act - a legislative pillar that sprung from the civil rights movement, and Selma in particular, which in 2013 was weakened by a supreme court decision.

Since then states like Texas and North Carolina have introduced laws that experts say disenfranchise black and other minority voters.

Efforts to revive or rewrite the legislation have stalled amid opposition from conservative Republicans, at least one of whom was in the VIP section of the crowd.

"Right now, in 2015, 50 years after Selma, there are laws across this country designed to make it harder for people to vote," Obama said.

"As we speak, more of such laws are being proposed. Meanwhile, the Voting Rights Act, the culmination of so much blood and sweat and tears, the product of so much sacrifice in the face of wanton violence, stands weakened, its future subject to partisan rancor. How can that be?"

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Obama in Selma: Ferguson report shows civil rights 'march is not yet finished'

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Barack Obama delivered one of the most poignant speeches of his presidency on Saturday, using the backdrop of Selma's Edmund Pettus Bridge to call for an end to the discrimination he said still casts "a long shadow" over America.

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CO : Audios "Stories From Selma"

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Watch on YouTube
Yesterday, President Obama and the First Family joined thousands of Americans at the foot of the Edmund Pettus Bridge in Selma, Alabama, to honor the sacrifice and bravery of the men and women who bled there, on that very pavement exactly 50 years ago. Many of those original "foot soldiers" joined him yesterday, including Congressman John Lewis, who helped to organize the first march over this bridge in 1965, who endured a tragic beating on that "Bloody Sunday," and who yesterday strode arm in arm with the President of the United States.

It was a day filled with electricity, inspiration, tales of heartache and courage, and the true story of how a handful of ordinary Americans helped to change the course of history with their grace, their peaceful action, and their bold belief in the true spirit of this country.

Still, even with the progress those men and women afforded us, great challenges still remain. That's why the legacy of Selma must not be viewed in the vacuum of history, but rather as an inspiration for our future. As President Obama put it yesterday, the lesson of Selma isn't an outlier of the American experience:

"[Selma] is instead the manifestation of a creed written into our founding documents: 'We the People...in order to form a more perfect union.' 'We hold these truths to be self-evident, that all men are created equal.'"

"These are not just words," he said. "They're a living thing, a call to action, a roadmap for citizenship and an insistence in the capacity of free men and women to shape our own destiny."
I hope you'll take a moment to hear what President Obama had to say yesterday in Selma.
And please take time to learn more of the stories and lessons of this day, of those who stood for justice at great cost, and of those who continue to do so.
Listen to some of those stories here:

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President Obama Marks the 50th Anniversary of the Marches from Selma to Montgomery

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Watch on YouTube Yesterday, President Obama and the First Family joined thousands of Americans at the foot of the Edmund Pettus Bridge in Selma, Alabama, to honor the sacrifice and bravery of the men and women who bled there, on that very pavement exactly 50 years ago.

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https://www.google.fr/search?q=obamas+selma+march&tbm=vid&source=lnms&sa=X&ved=0ahUKEwj4rsDO2YvYAhXDtRQKHSHFDIEQ_AUICygC&biw=1280&bih=603&dpr=1.5

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Obama leads Selma 50th anniversary march

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US President Barack Obama and former President George W Bush lead a crowd of politicians and civil rights leaders in a ceremonial walk across the Edmund Pettus Bridge, the scene of the "Bloody Sunday" march of 1965.

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After the release of The Book of Yeezus in 2013, hip-hop artist Kanye West has been praised as a modern civil rights activist due to the strikingly rebellious content of the songs in his album. An analysis of the album, however, presents a challenge to the seemingly political protest that West puts forth in his album: what is he really protesting?

A revisit to the ideals of the American civil rights movements in the 20th century is crucial to understanding West's protests in his music. In 1963 at the March on Washington, Martin Luther King, Jr. gave his infamous "I Have a Dream" speech to thousands of civil rights supporters who had marched to the capital to press the federal government to enact more egalitarian legislation in the United States. King cries out, "free at last," as he envisions the future of his race, free from the oppression that they'd struggled against for so long. Out in the crowd, it would be common to see a fist thrown up in the air; the clenched fist, a trademark of the civil rights movement and a symbol of solidarity and defiance among members of oppressed groups, was commonly associated with the Black Panther Party and the civil rights movement in general. In a different form of protest, Billie Holiday released her personal protest, "Strange Fruit," in 1939 as a social commentary on the injustice that the African American community faced as a result of lynch law in the South. While the impact of the movement is not confined to these three moments alone, they find a new prominence in The Book of Yeezus.

The idea of Kanye West as a political activist stemmed from his references to civil rights ideology, although he may not have contributed to the movement himself. Within the album, West has three songs in particular that resemble racial issues: "Black Skinhead," "New Slaves," and "Blood on the Leaves." However, the racial undercurrent stops there. West spends the majority of "Black Skinhead" talking about issues associated with his fame. He adds his race to the equation, although it has no significance to the hardship he faces. "They see a black man with a white woman...they gon' come to kill King Kong." He later claims that America "came to see me in my black skin," along with a denunciation of "every question you [his audience, is] askin'." West, however, is more concerned about the media's probing of his lifestyle with "every question" they ask, and their fascination with his love life.

None of these issues, however, are related to his status as an African American, as much as due to his life as a key figure in the media and music industry. West also states that he is "livin' in the moment," which demonstrates his focus on the current issues, which are those targeted at him due to his life as a public figure, as opposed to the issues of race that have extended far into the country's history. Then, in "New Slaves," West talks about a similar issue when he mentions "...rich nigga racism / That's that 'Come here, please buy more,'" paired with West's complete condemnation of "you and your corporation" and references to how the victims of this type of "rich nigga racism" are "the new slaves." West even goes so far as to state, "I see the blood on the leaves," a reference to the protest of Holiday's "Strange Fruit" and an indication that West's idea of modern black "blood" is that of the African American victims of the modern consumerist market. While these issues do appear to combat racism, with terms of "racism," "slaves," and "blood on the leaves," it is apparent that the effects of the consumerist market could just as easily affect anyone in America, and this issue is not exclusive to black Americans alone.

Perhaps the worst offense and farthest stray from civil rights ideology takes place in "Blood on the Leaves." The song begins with an introduction by Nina Simone - a recorded cover of Billie Holiday's "Strange Fruit." Over time, West begins to rap over Simone's voice, dominating her historical rendition of the protest. Simone's voice is later remixed and distorted, similar to how West's voice is overcome by heavy Auto Tune throughout the duration of the song. West's use of remixed songs and Auto Tune demonstrate the distortion that the media forces upon musical artists like West. West contributes to this idea in the song, through lyrics centered around a romantic relationship with an unnamed woman: "You could've been somethin' / We could've, we could've been somebody / Or was it all our first party / When we tried our first molly..." He later goes on to talk about how the relationship was pure and full of youthful energy "before the limelight tore ya / before the limelight stole ya" and the woman "had to tell somebody" about the dynamic of the relationship, in an attempt to gain her own fame and wealth. West's song, without the background noise of Simone's cover, has nothing to do with civil rights. The song is centered on the issues he faces as an artist, where the media and paparazzi cause issues with artists and public figures becoming corrupt with obsessions for wealth and power. While these are legitimate concerns, it is clear that the utilization of Holiday's song was completely unfounded and irrelevant to the message he conveys.

In contrast to the original meanings of the aforementioned civil rights ideology, West distorts their meanings to create rebellious music that will appeal to his youth audiences. In a song called, "I'm In It," West references Martin Luther King, Jr.'s speech, when he uses "free at last" to describe a woman's breasts that are freed from the confines of a bra, rather than the liberation of an oppressed minority of people. West then uses the term "civil rights sign" to describe his fist during a sexual encounter with a woman, thus demonstrating his lack of respect for the historical civil rights movement and even human life in general. Furthermore, West's usage of "Strange Fruit" and the words "blood on the leaves" in both "New Slaves" and "Blood on the Leaves" demonstrates the way in which West relates the past struggles of African Americans to his personal struggles as a celebrity, promoting the hardship and recklessness that is symptomatic of life in the national spotlight. The only time that the reference seems at all related to the civil rights movement is when the words themselves are used, mainly in Simone's cover. However, the references speak for themselves, and West does not speak for them; because West does nothing in his music to expand the racial protest that Holiday began, it becomes evident that he has nothing to contribute in the way of racial politics. In fact, West feels very little of the racial prejudice in his production of "Blood on the Leaves" that Holiday faced in the publishing of "Strange Fruit." While Holiday was only praised for her work so long as it lacked any sort of social commentary, West is praised when he combats authority to any degree, even if his message is not entirely ethical or important for the majority of the race that he claims to represent.

Kanye's vanity is the primary example of how all of his musical endeavors ultimately promote his own fame and commercial success. West once admitted in an interview with the New York Times that "Kanye and vanity are like, synonymous." While West's vanity initially appears as a method of black empowerment through unabashed self-love, it quickly becomes clear that Kanye really only expresses excessive self-love because it enhances his career as a performer. Kanye talks about the importance of his "'gevity," (longevity) as an artist in the spotlight, as well as the idea that he is the embodiment of "complete awesomeness." When he talks about giving back to the community of fans that support him, he states that he wishes to do so through providing them with the fashion line of clothes he makes, because his "passion is for humanity." But with his long-time position in the spotlight, West neglects to mention that the clothes he designs and manufactures cost hundreds and thousands of dollars. In that case, it's clear that Kanye doesn't understand the lives of common people; all he truly understands is how much money and commercial success he wants to make. How does expensive clothing have anything to do with a passion for humanity? Just one example of his out-of-touch lifestyle, Kanye West clearly has lost touch with what it feels like to be an ordinary American - African American or otherwise. If he can't understand the lifestyle of the majority of the nation, how can he even begin to combat the struggles they face? He has the platform, but lacks the comprehension that the political and social protest requires. With regard to his role as a representative for the common masses, specifically with regard to race, West makes his most ridiculous remark yet in an interview reported by the Daily Currant, West says, " I am the next Nelson Mandela... I'm going to be a bigger hero than he ever was. Nelson Mandela did a lot of good work, don't get me wrong. But I think I'm on track to do something even bigger. I liberate minds with my music. That's more important than liberating a few people from apartheid or whatever." West's work of "liberating minds" may be true through the outward use of creative license in his music, but this has no social impact if minds are liberated but not actually moved to action. Whereas Mandela liberated lives physically and mentally, improving the social and political environment of an entire nation through his actions, West thinks that his raps about sex, money, fame, and drugs means that he is making more effective moral achievements than Mandela ever did. The remark, in retrospect, is despicably ignorant and demonstrates that Kanye really doesn't understand social issues, or even care enough to truly research what it's like outside of the bubble of fame. He claims that he now wants out of what he worked so hard to achieve, but it's doubtful that West could last a day as an ordinary citizen, given his utter lack of understanding of the world around him. While West does demonstrate his unique moments of musical or creative talent, he still has his flaws: is he a once oppressed, daring musical activist, or just a self-absorbed performer trying to create a bigger name for himself? Listen to Yeezus with the supposed idea of racial protest in mind, and then decide. Artists like Billie Holiday, Nina Simone, and countless others were able to respectably execute their racial protests; it's hard to tell if West is falling appropriately in the path behind them, or if he's accomplishing his goal of creating his own unique path. Our biggest problem as listeners and consumers is that we often choose to listen to and share his music before we decide if that path is truly good or bad.

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"The Next Nelson Mandela": Kanye West and the Civil Rights Movement

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After the release of The Book of Yeezus in 2013, hip-hop artist Kanye West has been praised as a modern civil rights activist due to the strikingly rebellious content of the songs in his album. An analysis of the album, however, presents a challenge to the seemingly political protest that West puts ...

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Most of the attention generated by Kanye West's recent interview with Zane Lowe has centered on a few typically bombastic statements from Kanye about his place in pop culture/human history and the Twitter tirade that followed Jimmy Kimmel's spoof of the interview on Jimmy Kimmel Live. However, also present in the interview, buried in the depths of what most media outlets have characterized as rants, are the clues to Kanye's vision of a contemporary civil rights struggle. Given that West is one of the few celebrities that seems to use every available opportunity to publicly raise issues regarding race and class, I also wanted to devote a post to clarifying, rather than distorting, his message.

In the interview, Kanye devotes a lot of energy to discussing what appears to be his most pressing civil rights concern: the exclusion of blacks from control over capital and the means of production. Kanye repeatedly addresses this issue in the context of his frustration with not being able to obtain joint venture funding from major fashion companies to produce clothing. At one point, West compares the obstacles he currently faces in gathering resources to produce his own products to the barriers that Michael Jackson confronted in putting his music videos on the air.

I would not be Kanye West if it wasn't for Michael Jackson. . . . He had to fight to get his video played because he was black, and this was Michael Jackson. Michael Jackson's not even black; he's Michael Jackson, you know what I mean? . . . I was able to ascend to massive heights and never stop because of the foundation that my mother, my father, and my grandfather laid through civil rights, what Michael Jackson did with music videos and the ground he broke. There would be no Kanye West if it wasn't for Michael Jackson. . . . I've reached a point in my life where my Truman Show-boat has hit the painting, and I've got to a point that Michael Jackson did not break down. I've reached the glass ceiling . . . When I say that, it means I want to do product. I am a product person. Not just clothing, but water bottle design, architecture, everything that you can think about. And I've been at it for 10 years, and I look around and I say, "Wait a second. There is no one around here in this space that looks like me, and if they are, they're quiet as fuck." So that means, wait a second. Now we're seriously in a civil rights movement.

Pushing the comparison to past forms of discrimination even further, Kanye analogizes the exclusion of blacks from control over capital resources to Jim Crow-era disparities in drinking water quality. To understand the quote fully, it might be helpful to mention that Kanye's newest album Yeezus contains the following lyric: "My momma was raised in the era when / Clean water was only served to the fairer skin. / Doing clothes you would've thought I had help / But they wasn't satisfied unless I picked the cotton myself."

So when I say, "Clean water was only served to the fairer skin," what I'm saying is we're making product with chitlins! T-shirts; that's the most we can make. T-shirts. We can have our best perspective on T-shirts. But if it's anything else, your Truman Show-boat is hitting the wall.

In his reconciliation interview with Jimmy Kimmel, Kanye points out that this exclusion is often motivated more by a classist mentality than an "old-school" racist mentality. It's not that black people are excluded from control over capital on the basis of race alone; anyone who doesn't come from the same privileged background or share the same cultural perspective as the corporate elites who currently exercise control is excluded.

It's not about racism anymore; it's classism. That's what I talked about. Like Paula Deen? She was old-school with it. They were like, "We don't do it like that anymore, Paula Deen; that's racist. We're classist now.". . . So this classism now is what they do to try to say, "Well, you're a rapper," or "Your girl is on a reality show. So you're not up here with us, you know? We're old money."

It also seems clear that Kanye views the currently limited range of pop culture representations of blackness as a result of this exclusion. Because white corporate elites control the processes by which black culture and perspective are funneled into products and disseminated to the public, they have in effect defined the contours of what constitutes an acceptable public representation of blackness-blacks as "gangster[s]" and "pimp[s]." According to Kanye, this commonly held image of blackness is what causes people to revolt against his own claims the he is a god.

When someone comes up and says something like, "I am a god," everybody says, "Who does he think he is?" . . . Would it have been better if I had a song that said, "I am a nigger"? Or if I had a song that said "I am a gangster"? Or if I had a song that said "I am a pimp"? All those colors and patinas fit better on a person like me, right? But to say you are a god-especially when you got shipped over to the country that you're in and your last name is a slave owner's. How could you say that? How could you have that mentality?

Even setting aside Kanye's apparent disregard for women's parallel civil rights concerns, which I understand is impossible for a lot of rights-conscious people out there, I can't decide how I feel about all of this. On the one hand, it is nice to see someone using their fame as a platform for discussing civil rights issues. Like I mentioned above, there aren't many celebrities who do. Moreover, the issues Kanye discusses certainly aren't nonexistent. Public portrayals of blackness are still intimately bound up with street crime, and those black celebrities who break the model tend to be deracialized in the public sphere. Maybe giving Kanye and others like him more opportunities to develop their own products and control the commodification of their perspectives, personas, and culture would be a step towards remedying this issue.

On the other hand, of all things, is this really the issue to which the most powerful voice in media is going to dedicate itself? This is the guy who wrote " We Don't Care" and " Spaceship;" it's not as if he is unaware of the problems faced by communities of color here in America on the ground. But instead of using his platform to address lack of opportunity at the bottom, he is using it to address lack of opportunity at the top. Instead of talking about the disproportionate negative impact of contemporary school funding and criminal justice policies, he's talking about fashion executives refusing to extend him joint venture funding. And in the end, I can't help wishing that he was talking more about the former than the latter.

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Most of the attention generated by Kanye West's recent interview with Zane Lowe has centered on a few typically bombastic statements from Kanye about his place in pop culture/human history and the Twitter tirade that followed Jimmy Kimmel's spoof of the interview on Jimmy Kimmel Live.

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_http://www.u-s-history.com/pages/h3736.html
_http://atlantablackstar.com/2014/02/23/10-black-heroes-who-usually-go-unrecognized-during-black-history-month-but-shouldnt/
_http://www.who2.com/list/black-history-month-biographies/
https://www.huffingtonpost.com/entry/7-black-figures-incredible-advancements-sports-and-entertainment_us_58ab44e9e4b0a855d1d8b845

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Great Black Heroes | The Pioneers and Groundbreakers of Black History

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This site looks as many of the Black heroes in the course of history, pioneers and ground breakers in different fields. Many have gone unrecognized for their contributions, but their significance is now being rediscovered.

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https://www.google.fr/search?safe=strict&client=firefox-b-ab&dcr=0&ei=HURfWtn9PMToUqW0sLgI&q=protest+rap+songs&oq=protest+rap+songs&gs_l=psy-ab.3..0i19k1l2j0i22i30i19k1l8.42343.48409.0.48509.13.13.0.0.0.0.213.957.5j3j1.9.0....0...1c.1.64.psy-ab..4.9.954...0i13k1j0i7i30k1j0i8i7i30k1j0i13i30k1j0i8i13i30k1j0i7i30i19k1j0i8i7i30i19k1j0i8i30i19k1.0.H3QfqNdN92M
Alicia Keys - Powerful
KW - Ultralight Beam
John Legend - Glory
Billie Holiday - Stange Fruits
Harry Bellafonte - BananaBoatSong
KL - Complexion
Gil Scott Heron - Who will Survive

J-z, KW - Made in America

Rihanna - Am Ox
Beyoncé - Formation
Scott Joplin - Maple Leaf Rag
https://vmagazine.com/article/v104-alicia-keys-interview/
https://www.bustle.com/p/alicia-keys-recites-maya-angelous-poem-in-one-of-the-march-on-washingtons-most-powerful-moments-32104

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While Alicia Keys is known for her unabashed celebration of New York on Jay Z's "Empire State of Mind," she released another kind of anthem on Wednesday night: "We Gotta Pray," which protests a Staten Island grand jury's decision not to indict a New York police officer in the death of Eric Garner.

Her three-minute song pleads for strength and peaceful protest, and an accompanying video combines photos of civil rights protests from the past and present with quotes from the Rev. Dr. Martin Luther King Jr. and Gandhi. Near the end of the video, a portrait of Mr. Garner appears for nearly 10 seconds.

In an interview, Ms. Keys said she wrote the song in the past few months, moved by the deaths on Staten Island and in Ferguson, Mo., where Michael Brown, an unarmed black teenager, was shot and killed by a white police officer. "We absolutely feel disregarded as human beings," said Ms. Keys, speaking about America's justice system.

Like the song " Be Free," J. Cole's response to the situation in Ferguson, "We Gotta Pray" is a homemade production. "I recorded the song in a room one night, all alone," she said.

The song has a hymnal quality and features a single sparse piano accompaniment. But while J. Cole's song is wholly despairing, Ms. Keys mixes in declarations of uplift and self-affirmation: "We are extraordinary people / Living ordinary lives."

"The most important thing is that we look at each other and see these magnificent beings that can create the changes and movements we dream of," she said.

While Ms. Keys may be the most prominent artist to have released a protest song addressing the Garner case, many other musicians, including John Legend and Run the Jewels, have reacted on social media and in person to the grand jury's decision.

Questlove, the Roots drummer, posted on Twitter: "I'm ashamed. Mostly because I'm no longer shocked at things nowadays. Nothing is shocking."

Photos were also uploaded of J. Cole's protesting in the streets of New York.

Ms. Keys, who grew up in New York, said the grand jury's decision upset her on multiple levels. "There is that New York camaraderie, but it's bigger than that," she said. "There's injustice going on, and it seems so blatant."

Local rappers have also recorded their own impassioned responses. Uncle Murda and Maino from Brooklyn released the video to "Hands Up," a song recorded over the summer addressing the deaths of Mr. Garner and Mr. Brown. Ty "Blizzy" Black released the song "Killer Cops" and will perform at a benefit for Mr. Garner's family on Staten Island, organized by North Americans Against a Police State.

And even though Ms. Keys says she is more or less nine months pregnant with her second child, she expects to join the protests on the ground.

"We will continue to be loud," she said. "I hope that this is our 21st-century civil rights movement. You shouldn't be surprised if you see me out there."

A version of this article appears in print on , on Page A30 of the New York edition with the headline: In Anthem, Singer Pleads for Strength. Order Reprints | Today's Paper | Subscribe

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Alicia Keys, With Garner Anthem 'We Gotta Pray,' Pleads for Peaceful Protests

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While Alicia Keys is known for her unabashed celebration of New York on Jay Z's "Empire State of Mind," she released another kind of anthem on Wednesday night: "We Gotta Pray," which protests a Staten Island grand jury's decision not to indict a New York police officer in the death of Eric Garner.

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The Rise and Fall of Jim Crow. Jim Crow Stories | PBS

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http://cle.ens-lyon.fr/187-angela-davis-becoming-an-icon/angela-davis-posters-222046.kjsp?RH=CDL_MAN000000

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Kids learn about the history of civil rights in the United States. Educational articles for teachers, students, and schools including civil rights leaders, movements, timelines, glossary, and major events. What are civil rights and why are they important?

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http://www.ducksters.com/games/crossword_puzzle/civil_rights.php

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Crossword Puzzle Game for Kids: Civil Rights

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Kids try out this fun crossword puzzle game about Civil Rights. Learn about history and have fun at the same time.

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The Supreme Court overturned a judgment convicting an African American of trespassing when being in a "whites only" restaurant at a bus terminal. It ruled that racial segregation in public transportation was illegal because it violated the Interstate Commerce Act.

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Every year, Americans recognize February as Black History Month. The month is dedicated to recognizing the achievements of African Americans and celebrating the role they have played in the history of the United States.

Black History Month, also known as National African American Month, has been recognized by all U.S. Presidents since 1976. Canada also recognizes Black History Month each February, while countries such as the United Kingdom and the Netherlands celebrate in October.

In the United States, Black History Month traces its start back to 1915, The organization that is now known as the Association for the Study of African American Life and History was founded by historian Carter Woodson and minister Jesse Moorland.

Just over a decade later, the first Negro History Week was observed in 1926. The second week of February was chosen for the observance in honor of the birthdays of two men who played a substantial role in ensuring the rights and freedoms of African Americans, Abraham Lincoln, and Frederick Douglass.

This first event gave birth to what we now know as Black History Month. In 1976, Gerald Ford became the first president to officially proclaim the February observance. Every U.S. president since has followed suit. Each year, the achievements of African Americans are recognized with a designated theme. The theme for 2018 is African Americans in Times of War.

Help your students celebrate Black History Month with these ideas:

Learn about the contributions African Americans have made in American history and society. Choose one African American to study in-depth.

Learn about Civil Rights activists such as Martin Luther King Jr. or Rosa Parks.

Learn about important moments in the Civil Rights movement.

Read biographies about influential African Americans or popular books by black authors.

African Americans have been instrumental in the development of several music genres and styles of dance. Learn about some of these such as jazz, blues, hip-hop, or swing.

Look for a local venue, such as a history museum, to learn about African American leaders and history related to your state or town.

If you live near a site that played a pivotal role in African American history, go visit it.

Watch a movie or documentary that relates to the topic.

You can also use this free printables set to introduce your students to influential African Americans.

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6 Printable Activities for Black History Month

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Every year, Americans recognize February as Black History Month. The month is dedicated to recognizing the achievements of African Americans and celebrating the role they have played in the history of the United States. Black History Month, also known as National African American Month, has been recognized by all U.S.

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What Discrimination Looks Like In America

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NYC Targets Discrimination Based On Hair

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Springfield city employee sues for racial discrimination

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Preschool "twins" take a stand against discrimination

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An unlikely friendship between white cop, black teen

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Age, Gender and Race Discrimination in Hiring - from PBS Newshour Jan. 14, 2016