Entertainment
Sidney Poitier – Hollywood’s first Black leading man reflected the civil rights movement on screen
Last Updated on March 7, 2026 by Daily News Staff
Aram Goudsouzian, University of Memphis
In the summer of 1967, Martin Luther King Jr. introduced the keynote speaker for the 10th-anniversary convention banquet of the Southern Christian Leadership Conference. Their guest, he said, was his “soul brother.”
“He has carved for himself an imperishable niche in the annals of our nation’s history,” King told the audience of 2,000 delegates. “I consider him a friend. I consider him a great friend of humanity.”
That man was Sidney Poitier.
Poitier, who died at 94 on Jan. 7, 2022, broke the mold of what a Black actor could be in Hollywood. Before the 1950s, Black movie characters generally reflected racist stereotypes such as lazy servants and beefy mammies. Then came Poitier, the only Black man to consistently win leading roles in major films from the late 1950s through the late 1960s. Like King, Poitier projected ideals of respectability and integrity. He attracted not only the loyalty of African Americans, but also the goodwill of white liberals.
In my biography of him, titled “Sidney Poitier: Man, Actor, Icon,” I sought to capture his whole life, including his incredible rags-to-riches arc, his sizzling vitality on screen, his personal triumphs and foibles and his quest to live up to the values set forth by his Bahamian parents. But the most fascinating aspect of Poitier’s career, to me, was his political and racial symbolism. In many ways, his screen life intertwined with that of the civil rights movement – and King himself.
An age of protests
In three separate columns in 1957, 1961 and 1962, a New York Daily News columnist named Dorothy Masters marveled that Poitier had the warmth and charisma of a minister. Poitier lent his name and resources to King’s causes, and he participated in demonstrations such as the 1957 Prayer Pilgrimage and the 1963 March on Washington. In this era of sit-ins, Freedom Rides and mass marches, activists engaged in nonviolent sacrifice not only to highlight racist oppression, but also to win broader sympathy for the cause of civil rights.
In that same vein, Poitier deliberately chose to portray characters who radiated goodness. They had decent values and helped white characters, and they often sacrificed themselves. He earned his first star billing in 1958, in “The Defiant Ones,” in which he played an escaped prisoner handcuffed to a racist played by Tony Curtis. At the end, with the chain unbound, Poitier jumps off a train to stick with his new white friend. Writer James Baldwin reported seeing the film on Broadway, where white audiences clapped with reassurance, their racial guilt alleviated. When he saw it again in Harlem, members of the predominantly Black audience yelled “Get back on the train, you fool!”
King won the Nobel Peace Prize in 1964. In that same year, Poitier won the Oscar for Best Actor for “Lilies of the Field,” in which he played Homer Smith, a traveling handyman who builds a chapel for German nuns out of the goodness of his heart. The sweet, low-budget movie was a surprise hit. In its own way, like the horrifying footage of water hoses and police dogs attacking civil rights activists, it fostered swelling support for racial integration.
A better man
By the time of the actor’s Southern Christian Leadership Conference speech, both King and Poitier seemed to have a slipping grip on the American public. Bloody and destructive riots plagued the nation’s cities, reflecting the enduring discontent of many poor African Americans. The swelling calls for “Black Power” challenged the ideals of nonviolence and racial brotherhood – ideals associated with both King and Poitier.
When Poitier stepped to the lectern that evening, he lamented the “greed, selfishness, indifference to the suffering of others, corruption of our value system, and a moral deterioration that has already scarred our souls irrevocably.” “On my bad days,” he said, “I am guilty of suspecting that there is a national death wish.”
By the late 1960s, both King and Poitier had reached a crossroads. Federal legislation was dismantling Jim Crow in the South, but African Americans still suffered from limited opportunity. King prescribed a “revolution of values,” denounced the Vietnam War, and launched a Poor People’s Campaign. Poitier, in his 1967 speech for the SCLC, said that King, by adhering to his convictions for social justice and human dignity, “has made a better man of me.”
Exceptional characters
Poitier tried to adhere to his own convictions. As long as he was the only Black leading man, he insisted on playing the same kind of hero. But in the era of Black Power, had Poitier’s saintly hero become another stereotype? His rage was repressed, his sexuality stifled. A Black critic, writing in The New York Times, asked “Why Does White America Love Sidney Poitier So?”
That critic had a point: As Poitier himself knew, his films created too-perfect characters. Although the films allowed white audiences to appreciate a Black man, they also implied that racial equality depends on such exceptional characters, stripped of any racial baggage. From late 1967 into early 1968, three of Poitier’s movies owned the top spot at the box office, and a poll ranked him the most bankable star in Hollywood.
Each film provided a hero who soothed the liberal center. His mannered schoolteacher in “To Sir, With Love” tames a class of teenage ruffians in London’s East End. His razor-sharp detective in “In the Heat of the Night” helps a crotchety white Southern sheriff solve a murder. His world-renowned doctor in “Guess Who’s Coming to Dinner” marries a white woman, but only after winning the blessing of her parents.
“I try to make movies about the dignity, nobility, the magnificence of human life,” he insisted. Audiences flocked to his films, in part, because he transcended racial division and social despair – even as more African Americans, baby boomers and film critics tired of the old-fashioned do-gooder spirit of these movies.
Intertwined lives
And then, the lives of Martin Luther King Jr. and Sidney Poitier intersected one final time. After King’s assassination on April 4, 1968, Poitier was a stand-in for the ideal that King embodied. When he presented at the Academy Awards, Poitier won a massive ovation. “In the Heat of the Night” and “Guess Who’s Coming to Dinner” captured most of the major awards. Hollywood again dealt with the nation’s racial upheaval through Poitier movies.
But after King’s violent murder, the Poitier icon no longer captured the national mood. In the 1970s, a generation of “Blaxploitation” films featured violent, sexually charged heroes. They were a reaction against the image of a Black leading man associated with Poitier. Although his career evolved, Poitier was no longer a superstar, and he no longer bore the burden of representing the Black freedom movement. Yet for a generation, he had served as popular culture’s preeminent expression of the ideals of Martin Luther King.
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Aram Goudsouzian, Bizot Family Professor of History, University of Memphis
This article is republished from The Conversation under a Creative Commons license. Read the original article.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
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Breaking News
Dolly Parton Dies at 80, Leaving Behind an Extraordinary American Legacy
Dolly Parton, the legendary singer, songwriter, actress, entrepreneur and philanthropist, has died at 80. We look back at the remarkable journey that took her from rural Tennessee to becoming one of America’s most beloved cultural icons.
Last Updated on August 25, 2026 by Daily News Staff
Country music legend, songwriter, actress and philanthropist Dolly Parton has died at the age of 80, bringing to a close one of the most remarkable careers in American entertainment.
Dolly Parton Dies at 80
Dolly Parton, whose unmistakable voice, songwriting talent, humor and generosity made her an American cultural icon far beyond the world of country music, died Tuesday, August 25, 2026, in Nashville.
Parton died at Vanderbilt-Ingram Cancer Center following a brief battle with cancer, according to her publicist. She was surrounded by loved ones. The specific type of cancer has not been publicly disclosed.
For millions of fans around the world, the news marks the loss of an entertainer who seemed almost timeless.
From the Tennessee Mountains to Stardom
Born Dolly Rebecca Parton on January 19, 1946, in Sevier County, Tennessee, Parton grew up as one of 12 children in a family with little money.
Those beginnings would become an important part of both her identity and her music.
Rather than distancing herself from her Appalachian upbringing after becoming famous, Parton repeatedly returned to those experiences in her songwriting. Songs such as “Coat of Many Colors” transformed childhood memories into stories about poverty, family, dignity and love.
After moving to Nashville, Parton eventually became a nationally known performer, including through her partnership with Porter Wagoner.
But it was her ability to write songs that helped establish her as one of the defining artists of her generation.
Her catalog would eventually include classics such as “Jolene,” “I Will Always Love You,” “Coat of Many Colors,” “Here You Come Again” and “9 to 5.”
“I Will Always Love You,” originally written and recorded by Parton in the 1970s, would find an entirely new audience when Whitney Houston recorded a soaring version for the 1992 film The Bodyguard.
More Than a Country Singer
Calling Dolly Parton simply a country music star never quite captured the full scope of her career.
She crossed into pop music, television and Hollywood while maintaining her country roots.
Her starring role alongside Jane Fonda and Lily Tomlin in the 1980 comedy 9 to 5 helped turn her into a major movie star. The film’s title song became another Parton classic and an enduring anthem about the frustrations of working life.
Parton later appeared in films including The Best Little Whorehouse in Texas, Steel Magnolias and Straight Talk.
She also became an extraordinarily successful businesswoman.
Her association with Dollywood, the Tennessee theme park bearing her name, helped transform the attraction into one of the state’s best-known tourist destinations while bringing jobs and investment to the region where she grew up.
A Legacy Built Around Giving
Parton’s impact may ultimately be measured by more than records sold, awards won or movies made.
Through the Dolly Parton Imagination Library, founded in 1995, free books have been provided to children from birth to age five.
What began as a literacy program serving children in Parton’s home county in Tennessee grew into an international effort distributing books to children in the United States and several other countries.
Parton also contributed to disaster relief, education and medical research. During the COVID-19 pandemic, she donated $1 million to Vanderbilt University Medical Center research that helped support development of the Moderna COVID-19 vaccine.
Her philanthropy became almost as recognizable as her music.
An Artist Who Crossed Generations
Perhaps one of Parton’s most unusual achievements was her ability to remain relevant without abandoning the personality that made her famous.
Parents who grew up hearing Dolly Parton records introduced her music to their children and grandchildren. Country fans embraced her, but so did rock musicians, pop artists, actors and audiences who might rarely listen to country music.
Her enormous blonde hair, rhinestones and colorful outfits became instantly recognizable, and Parton frequently made herself the punchline of jokes about her appearance before anyone else had the opportunity.
Behind that carefully cultivated public image was a songwriter responsible for thousands of compositions and a businesswoman who maintained considerable control over her work.
Even late in her career, Parton continued exploring new musical territory. Her 2023 album Rockstar featured collaborations with major figures from rock and pop music and demonstrated yet again her ability to move between genres.
Tributes Pour In
News of Parton’s death quickly prompted tributes from across entertainment and public life.
Musicians, actors, friends and admirers remembered not only her extraordinary career but also the kindness and generosity for which she had become known.
The reaction reflects something that made Parton unusual among celebrities of her stature: she became a figure whose appeal extended across generations, regions and many of the cultural divisions of American life.
Her husband, Carl Dean, died in March 2025 at the age of 82. The famously private Dean and Parton had been married for nearly 60 years.
The Music Remains
Dolly Parton’s career is difficult to summarize because it was never confined to one thing.
She was a country singer who became a pop star.
A songwriter who became a movie star.
A girl who grew up poor in the mountains of Tennessee and became a highly successful entrepreneur.
And a celebrity who turned much of her wealth and fame toward helping children she would never meet.
Dolly Parton died at 80, but the songs, stories and institutions she created will continue long after her passing.
For generations of listeners, hearing the opening guitar of “Jolene,” the tenderness of “Coat of Many Colors,” or the unmistakable opening of “9 to 5” will immediately bring her back.
And perhaps that is one of the greatest legacies a songwriter can leave behind.
STM Daily News will publish a more comprehensive look at Dolly Parton’s extraordinary life, career and lasting cultural impact in the coming days.
Sources:
Associated Press — Dolly Parton dies at 80
Reuters — Dolly Parton dies at 80
Related Links:
Official Dolly Parton Website
Dolly Parton’s Imagination Library
health and wellness
Millions of mobile gamers prize stress relief over winning
Mobile Gamers Prize Stress: In the school’s car pickup line, five minutes before it starts moving. In the doctor’s office waiting room for an appointment that you’ve been heavily anticipating. In bed, just before going to sleep. In these transitional moments, many people reach for their phones — not to scroll, but to play.
Millions of mobile gamers prize stress relief over winning
(Sheeka Sanahori) In the school’s car pickup line, five minutes before it starts moving. In the doctor’s office waiting room for an appointment that you’ve been heavily anticipating. In bed, just before going to sleep. In these transitional moments, many people reach for their phones — not to scroll, but to play.
According to a June 2026 survey of more than 128,000 KashKick mobile gamers, playing a mobile game is more than a way to pass the time. Stress relief and relaxation are the top reasons respondents play, beating out entertainment and fun. As KashKick reports, for many people, this means mobile games are less a simple distraction and more a coping mechanism for the daily stress of life.
A quick reset for life’s transitional moments
Most respondents identify as women, and 60% live in households that earn less than $50,000 per year. In the ranking of their reasons for playing, stress relief and relaxation topped the list, with boredom relief, entertainment and fun close behind.
The ranking reads less like a profile of a gaming hobby and more like a profile of a coping behavior.
More than half of the respondents play games daily or multiple times a day. When they reach for a mobile game, about 53% of the time it’s for a short session—usually 30 minutes or less. Where and when people play tells its own story: 58% play in bed before going to sleep and 40% play in the bathroom. These are private, solitary moments, not the times people typically plan entertainment into their day.
Coping with stress by gaming
To understand why respondents play games for stress relief more than for fun, it helps to look at who they are. Among those surveyed, 19% say they’re unemployed or looking for work, and 60% live in lower-income households. There are likely some areas of their life where they must make every dollar stretch to cover the things they need.
The survey findings coincide with research from the American Psychological Association’s 2025 Stress in America report. According to the report, 18% of men and 22% of women under age 65 rate their stress level at eight or higher on a scale of one to 10. Although the KashKick survey didn’t measure stress, respondents are mostly women and fall within the age and income groups the APA found to carry the most stress.
The APA’s report also describes loneliness as a major strain for Americans. The KashKick survey didn’t measure feelings of isolation, but 55% prefer to play alone, and 60% rarely or never discuss their gameplay with friends or family.
Overall, the survey identifies a group of people who have found a routine, low-cost approach to cope with stress. They’re not necessarily there to get the highest score. They’re playing a mobile game to help them navigate a day that, with all of life’s to-dos and challenges, could quickly feel overwhelming.
Methodology
The KashKick Gaming Habits Survey was fielded from June 8, 2026, through Aug. 10, 2026, among KashKick members in the United States who play mobile games. The Gaming Habits Survey was available to all members on KashKick’s Surveys page post-profile completion. The survey received 128,218 total responses, with question-level response counts ranging from approximately 109,793 to 128,218 depending on attrition. All findings describe KashKick mobile gamers and should not be interpreted as representative of U.S. mobile gamers overall. Industry and stress context references publicly available data from the American Psychological Association, Statista, and Newzoo.
Photo courtesy of Shutterstock
SOURCE:
KashKick
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Entertainment
BronzeLens Film Festival Returns to Atlanta for Two Weekends of Global, Diverse Storytelling
Last Updated on August 26, 2026 by Daily News Staff
BronzeLens Film Festival Brings International Lineup to Atlanta Across Two Weekends
Atlanta becomes a hub for filmmakers and film lovers this month as the BronzeLens Film Festival marks its 17th annual celebration of cinema. Running August 21–23 and August 27–30, 2026, the festival brings together industry leaders, emerging creators, and audiences for two weekends centered on one idea: diverse storytelling deserves the biggest possible stage.
Founded to elevate underrepresented voices in film, BronzeLens says its 2026 lineup continues that mission with more than 150 Official Selections. The slate spans projects connected to creators and stories from across the globe, including Australia, Canada, France, Germany, Ghana, Guadeloupe, Peru, Saint Kitts and Nevis, South Africa, The Netherlands, the United Kingdom, and the United States. Festival organizers note that every film in the program is either produced by creators of color or focuses on stories about people of color.
Opening Night spotlight: “Love Patrick: Nothing is Impossible”
This year’s Opening Night feature is Love Patrick: Nothing is Impossible, directed by the Horne Brothers. The documentary chronicles the life and legacy of fashion designer Patrick Kelly, whose work and vision helped reshape how Black creativity and style were seen on a global stage.
For audiences, it’s a fitting kickoff: a story about artistry, identity, and ambition—exactly the kind of conversation-starter BronzeLens aims to put in front of the public.
A festival built for films—and the conversations after
BronzeLens founder and executive producer Kathleen Bertrand says the festival’s purpose goes beyond screenings.
“We believe the true magic of film happens both on the screen and in the conversations it inspires,” Bertrand said. “Our mission is to champion outstanding filmmaking while creating dynamic opportunities for filmmakers, creators, talent, and audiences to connect, collaborate, and help shape the future of storytelling.”
That emphasis on community and connection has helped BronzeLens become a key cultural event in Atlanta’s film ecosystem—one that continues to grow in reach as the industry increasingly looks for authentic, globally resonant stories.
Notable names tied to the 2026 Official Selections
This year’s Official Selections are associated with a wide range of acclaimed artists, including:
- Academy Award® winner Viola Davis, narrator of The Ebony Canal: A Story of Black Maternal & Infant Health
- Academy Award® winner Jordan Peele, producer of Spilled Milk
- Emmy Award winner Loretta Devine, co-star in Black Seeds Continue to Grow
- Golden Globe nominee Blair Underwood, producer and co-star in The Listeners
- Grammy Award-winning artist T.I., featured in The Birth of Trap Music and director of Da’Partments 2
- Ambyr Michelle, co-star in Escape Room
- The late Erica Ash, starring in The Making of a Classic
- Lauren E. Banks in Channels
Where it’s happening
Festival headquarters will be located at The Tara Atlanta, 2345 Cheshire Bridge Road NE.
For the full schedule, the complete list of Official Selections, and ticket information, visit www.BronzeLens.com. The official hashtag is #BronzeLens2026.
If you’re looking for a late-summer event that blends culture, craft, and community—BronzeLens is positioning itself as one of the film festivals where the industry (and the audience) will be paying attention.
Source
- PRNewswire press release: “The World Will Be Watching as BronzeLens Celebrates Its 17th Annual Film Festival”(BronzeLens Film Festival), published Aug. 7, 2026
Related links
- BronzeLens Film Festival (schedule, Official Selections, tickets): www.BronzeLens.com
- Official hashtag: #BronzeLens2026
- Festival HQ venue info: The Tara Atlanta, 2345 Cheshire Bridge Road NE, Atlanta
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