New PDF release: African American Icons of Sport: Triumph, Courage, and

By Matthew Whitaker Ph.D.

This name bargains an exam of African american citizens in activities, from quite a few views and during a full of life diversity of rhetoric types, and illuminates the historical past of hugely profitable and influential participants, athletes and groups who've transcended mere superstar to return to symbolize a given Zeitgeist to a large a part of the area. It additionally explores the heritage and lives of complicated, multi-layered personages and teams. ultimately, it examines the level to which smooth mass media and pop culture have contributed significantly to the increase, and occasionally fall, of the those strong symbols of athletic, person, and crew excellence.

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Extra resources for African American Icons of Sport: Triumph, Courage, and Excellence (Greenwood Icons)

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In 1970, he also became the tennis director at Doral Country Club in Miami, Florida, and served as a representative for Philip Morris. The following year, he made appearances in stores for Catalina, Head, and Philip Morris and also coached at tennis clinics for American Airlines and All-American Sports. Ashe won the Australian Open, the second of his three Grand Slam titles, on January 26, 1970. This year also marked Ashe’s international “coming out” as an activist, as he called for the expulsion of South Africa from the International Lawn Tennis Federation (ITF) because of that nation’s policy of apartheid.

Some who had earlier described Ashe as a tool of the apartheid government, now believed that he had redeemed himself through his changed views of South Africa, his 1985 protest, and subsequent arrest. When Nelson Mandela was finally released five years later on February 11, 1990, Ashe called white South African friend Ray Moore, who had denounced apartheid, to tell him of Mandela’s new-found freedom. Ashe was one of the first people Nelson Mandela asked to speak with upon his release because of the tennis player’s continued political work for South Africa.

Ali offered the public the contradictory pleasure of having to take him seriously while not having to take him seriously. He was very much aware of himself and 7 8 African American Icons of Sport played a game of public relations deceit as cleverly as anyone. Ali made himself the center of laughter but never the object of it. He controlled what his audiences laughed at when he made himself a source of humor. His laughter was meant to signify something other than deference—a boyish joy in his own freedom, strength, and ability to inspire, convert, and command.

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