Yes, I grew up on the dole in a single parent family

Been through a little bit of tragedy

Yes I was around drugs and violence before the day that I started secondary

And that’s part of it not half of it, get the picture, the rest ain’t necessary

Growing up, got a little caught up, but that ain’t even half of my life

Also given the knowledge of self

That is all we actually need to survive

If you saw me aged 9, reading Malcolm just fine

Teachers still treated me stupid

Students that couldn’t speak English, they put me in groups with

And the irony is some of the first man to give me schooling

You would call gangsters but I already explained, we know what the truth is

They used to say ‘Don’t be like me’

Yeah I got a name and dough on the street

Night time comes, I can’t sleep

And that’s the part that rappers don’t speak

We don’t hit the road cos we are thugs

Don’t come out the womb, wanting to sell drugs

If we got the right guidance and love

Would we fight people just like us?

How could I knock the hustle to get by?

How do you think I ate as a child?

Judge no one, done many things wrong

I just don’t boast about it songs

But listen to my older bars

I was just as confused as you probably are

Q1 : To what extent did his childhood influence his art

Akala's challenging childhood experiences significantly influenced his art, as evident in his lyrics. He draws on his upbringing to address themes of adversity, violence, and a lack of guidance in his music.

Q2 : What impact did words and books, especially Malcolm X, have on Akala

Words and books, particularly those of Malcolm X, played a pivotal role in shaping Akala's intellectual development and social awareness. Malcolm X's writings about racial injustice and self-empowerment inspired Akala's lyrics and commitment to social change.

to draw on [sth] - s'inspirer de [qch]

to address an issue - aborder un problème

a lack of - un manque de

a pivotal role - un rôle essentiel

self-empowerment - l'autonomisation de soi

commitment - l'engagement

The answer, my friend, is blowin' in the wind
The answer is blowin' in the wind

Yes, and how many years must a mountain exist
Before it is washed to the sea?
And how many years can some people exist
Before they're allowed to be free?
Yes, and how many times can a man turn his head
And pretend that he just doesn't see?

The answer, my friend, is blowin' in the wind
The answer is blowin' in the wind

Yes, and how many times must a man look up
Before he can see the sky?
And how many ears must one man have
Before he can hear people cry?
Yes, and how many deaths will it take 'til he knows
That too many people have died?

The answer, my friend, is blowin' in the wind
The answer is blowin' in the wind

Born in the U.S.A.
I was born in the U.S.A.
I was born in the U.S.A.
Born in the U.S.A., now

Got in a little hometown jam
So they put a rifle in my hands
Send me off to a foreign land
To go and kill the yellow man

Born in the U.S.A.
I was born in the U.S.A.
Born in the U.S.A.
I was born in the U.S.A.

Come back home to the refinery
Hiring man said, "Son, if it was up to me"
Went down to see my V.A. man
He said, "Son, don't you understand, now?"

I had a brother at Khe Sanh
Fighting off all the Viet Cong
They're still there, he's all gone
He had a woman he loved in Saigon
I got a picture of him in her arms, now

Down in the shadow of the penitentiary
Out by the gas fires of the refinery
I'm ten years burning down the road
Nowhere to run, ain't got nowhere to go

Born in the U.S.A.
I was born in the U.S.A., now
Born in the U.S.A.
I'm a long gone daddy in the U.S.A., now

Born in the U.S.A.
Born in the U.S.A.
Born in the U.S.A.
I'm a cool rocking daddy in the U.S.A., now

Analyze the lyrics with the grid.

Justify your answers with quotes and line numbers.

the boundaries : les limites

a freak-out : un fou/folle

gender-bending : l'androgynie

a glimpse : un aperçu

a persona : un personnage

weirdos : les gens bizards, étranges

smashing : génial/extra

suburban : de banlieue

to be unbiased : être neutre, objectif

to come about : arriver/débarquer

to come up with [sth]

to design [a character] : concevoir, créer

to fashion [sth] : fabriquer

to put [an idea] across : faire passer une idée

at the time : à l'époque

long ago : il y a longtemps

- Photo: Paul McCartney and David Bowie

- Video: Paul McCartney on freedom

- Video: Ziggy Stardust, icon of counterculture

- Lyrics: Fire in the booth, Akala

- Video: Akala performing “Fire in the booth”

----------------------------

How to analyze a picture (méthodologie distribuée)

----------------------------

- Photo: Cadillac Ranch

- CE: East from Frisco, Chris Harris

Lexical : Exprimer ses goûts, parler

de musique

Grammatical : L’habitude dans le passé

Grammatical : Le contraste

Phonologique : La prononciation du « s » en

position finale

Culturel : Protest Songs, Anti-Establishment,Rebellion, England and the

Seventies, Counterculture of the Sixties, Change, Punk

music

Words and phrases highlighting its significance include "celebrated," "public art installation and sculpture," "created in 1974," "graffiti-decorated classic Cadillacs," "representing the high water mark of American automobile-style," "thrust skywards from the Texas dirt," "perfectly aligned and poised," and "latter day Stonehenge or a druidic temple to the twentieth-century automobile god."

1. B . Why has Cadillac Ranch gained fame?

Cadillac Ranch's fame is attributed to several reasons: Its unique concept, association with Ant Farm, incorporation of graffiti art and classic cars, symbolism and mystery surrounding its purpose, historical significance in representing American automobile design, media coverage, and continued interest from the public.

2.A Does Cadillac Ranch match Chris Harris's description?

On the one hand, the description in the text highlights features such as graffiti-decorated classic Cadillacs buried nose-first in the ground, representing the high water mark of American automobile-style. On the other, Chris Harris evokes exaggerated or obscure symbolism which is not visible on the sculpture : Stonehenge/the great pyramid of Giza in Egypt.

2.B )Is Cadillac Ranch considered a sculpture or an installation?

Technically, Cadillac Ranch could be considered a sculpture. It meets the criteria of a three-dimensional work of art, featuring classic Cadillacs arranged in the ground and incorporating graffiti art, contributing to its sculptural qualities. But one could argue it doesn’t meet the criteriae of a traditional sculpture.

3.B) Does Cadillac Ranch tell us something about America ?

Some might see it as a representation of America's automotive history, a celebration of classic car design, or a reflection on the impact of automobiles on American culture. The use of classic Cadillacs spanning a particular era could also evoke nostalgia and represent a historical snapshot of American automotive achievement.

La structure "used to + verbe" est utilisée pour décrire des actions ou des habitudes qui étaient régulières dans le passé mais qui ne se produisent plus dans le présent. Elle souligne que l'habitude a été abandonnée.

Exemple : "I used to play basketball every weekend." Cette phrase indique que jouer au basketball était une activité régulière dans le passé, mais ce n'est plus le cas.

2. Would + Verbe (Routine Passée)

"Would + verbe" est similaire à "used to + verbe", mais est souvent utilisé pour décrire des actions répétées ou des routines dans le passé, en particulier lorsque ces actions sont rappelées avec nostalgie ou émotion.

Exemple : "Every summer, we would go to the beach." Cette phrase reflète une routine répétée et chérie qui avait lieu dans le passé."

ATTENTION A NE PAS CONFONDRRE USED TO AVEC :

• to be used to (avoir l'habitude de)

• to get used to (s'habituer)