Anti-War song recommendations featured by a Girl Power Academy:

photo: Donald Trump with his mentor Roy Cohn.

The reporter from the Washington Post didn’t ask Donald Trump about nuclear weapons, but he wanted to talk about them anyway. “Some people have an ability to negotiate,” Trump said, of facing the Soviet Union. “You either have it or you don’t.”

He wasn’t daunted by the complexity of the topic: “It would take an hour and a half to learn everything there is to learn about missiles,” he said.  

It was the fall of 1984, Trump Tower was new, and this was unusual territory for the 38-year-old real estate developer. He was three years away from his first semi-serious dalliance with presidential politics, more than 30 years before the beginning of his current campaign—but he had gotten the idea to bring this up, he said, from his attorney, his good friend and his closest adviser, Roy Cohn.

Read more by visiting:

http://www.politico.com/magazine/story/2016/04/donald-trump-roy-cohn-mentor-joseph-mccarthy-213799#ixzz4JyUx3Buj

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Vern Partlow (May 25, 1910 – March 1, 1987) was an American newspaper reporter and folk singer who was blacklisted during the McCarthy era. He composed the popular satirical song “Old Man Atom,” which was famously banned during the period. It is considered one of the first anti-nuclear songs of the post-war era.

The Sons of the Pioneers “Old Man Atom” (music Audio) is being posted here for NO COMMERCIAL PURPOSES.

The Sons of the Pioneers “Old Man Atom” (1950) LYRICS:

Hiroshima, Nagasaki, Alamogordo, Bikini…

I’m gonna preach you-all a sermon ’bout Old Man Atom, that’s me

I don’t mean the Adam in the Bible datum. I don’t mean the Adam that Mother Eve elated I mean that thing that science liberated. The thing that Einstein says he’s scared of, And when Einstein’s scared, brother, you’d better be scared.

If you’re scared of the atom here’s what’s you gotta do You gotta gather all the people in the world with you ‘Cause if you don’t get together and do it Well, first thing you know I’m gonna blow this world plum two

Hiroshima, Nagasaki, Alamogordo, Bikini…

Now life used to be such a simple joy My cyclotron was just a super toy And folks got born, they’d work and marry And “atom” was a word in the dictionary And then it happened! The science boys, from every clime They all pitched in with overtime And before they knew it, the thing was done And they’d hitched up the power of the gol-dern sun And put a harness on Old Sol Splittin’ atoms, while the diplomats was splittin’ hairs

Hiroshima, Nagasaki, Alamogordo, Bikini…

But the atom’s here, in spite of hysteria, Flourishes in Utah, as well as Siberia. And whether you’re a black, white, red or brown, The question is this, when you boil it down: To be or not to be! That’s the question! The answer to it all ain’t military datum, Like who gets there firstest with the mostest atoms,” No, the people of the world must decide their fate, They gotta get together or disintegrate. I hold this truth to be self-evident That all men may be cremated equal!

Hiroshima, Nagasaki, Alamogordo, Bikini…

Yes, it’s up to the people, ’cause the atoms don’t care, You can’t fence me in, I’m just like air. I don’t give a hoot about any politics Or who got what into whichever fix All I want to do is sit around and have my nucleus bombarded by neutrons. Now the moral is this, just as plain as day, That Old Man Atom is here to stay. I’m gonna stick around, and that’s for true But, ah, my dearly beloved, are you? So listen, folks, here is my thesis: “Peace in the world, or the world in pieces.”

***

Blaze Foley (Michael David Fuller) was born in Malvern, Arkansas, but grew up in Texas. He performed in a gospel band called The Singing Fuller Family with his mother, brother and sisters. After leaving home, he performed in Atlanta, Chicago, Houston, and Austin, Texas. 

The Blaze Foley “Oval Room” (music Audio) is being posted here for NO COMMERCIAL PURPOSES.

Blaze Foley “Oval Room” LYRICS:

In his oval room, in his rockin’ chair
He’s the president, but I don’t care
He’s a business man, he got business ties
He got dollar signs in both his eyes
Got a big airplane, take him everywhere
Got his limousine, when he get there
Everywhere he goes, make the people mad
Makes the poor man beg, and the rich man glad

He’s the president, but I don’t care
Ooh, Ooh, Ooh

At the factory, never been so slow
Got a big fourth down, ninety nine to go
And down on the farm, nothing growing there
But the debts they owe and their gray hair
In the desert sand, and the jungle deep
He thinks everything is his to keep
He’s a real cowboy, with his makeup on
Talks to kings and queens on the telephone

He’s the president, but I don’t care
Ooh, Ooh, Ooh

He’s a movie star, if you stay up late
And he’ll search your car, if you don’t look straight
In his Oval Room, in his rockin’ chair
He’s the president, but I don’t care

He’s the president, but I don’t care
Ooh, Ooh, Ooh

He’s the president, but I don’t care
Ooh, Ooh, Ooh

Written by Michael David Fuller • Copyright © BMG Rights Management US, LLC
***
William Johnson, known professionally as Holly Johnson, is an English artist, musician and writer, best known as the lead vocalist of Frankie Goes to Hollywood, in the mid-1980s. “Two Tribes” was released in May 1984. The anti-war song featured sirens and the voice of Patrick Allen (who had voiced the British Government’s actual nuclear warning ads.)
The Frankie Goes to Hollywood “Two Tribes” (Music Video) is being posted here for NO COMMERCIAL PURPOSES.
Frankie Goes to Hollywood “Two Tribes” LYRICS:
The air attack warning sounds like.
This is the sound.
When you hear the air attack warning, You and your family must take coverLove’s gone, ohWhen two tribes go to war
A point is all that you can score
(Score no more, score no more)
When two tribes go to war
A point is all that you can score
(Working for the black gas)[Repeat: x2]
Cowboy number one
A born again poor man’s son
(Poor man’s son)
On the air America
I modelled shirts for Van Heusen
(Working for the black gas)Switch off your shield
Switch off and feel
Working on loving yeah
Give me back the good times
Ship it out
Enjoy I feel I’m real
Working for the black gasTell the world that you’re winning
Love and life yeahListen to the voice sing follow me ohWhen two tribes go to war
A point is all that you can score
When two tribes go to war
A point is all that you can scoreWe got two tribes
We got the spunk
We got the spunk yeah
Sock it to me biscuits(Spoken: Are we living in a land where sex and
Horror are the new gods yeah?)When two tribes go to war
A point is all that you can score

Songwriters: MARK O’TOOLE, PETER GILL, WILLIAM JOHNSON
Two Tribes lyrics © DOWNTOWN MUSIC PUBLISHING LLC
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Howardena Pindell is (a Girl Power Academy) featured Artist recommendation

howardena-pindell-image-1988-full
“Autobiography: Air/CS560” 1988 mixed media Howardena Pindell

“Autobiography: Air/CS560” 1988

Howardena Pindell
American, born 1943

Howardena Pindell combines different materials and phrases to create a commentary on man’s inhumanity to man. Using outlines of her body, words describing torture and abuse, and a reference to teargas, she draws our attention to oppression of people throughout the world.

Artist Bio: 

photo of the artist: Howardena Pindell
photo of the artist: Howardena Pindell

Howardena Pindell is a full tenured Professor in the Art Department of Stony Brook University (State University of New York), where she has taught since 1979 and was Director of the MFA Program from 2003 through 2006. She teaches graduate and undergraduate drawing, painting and seminar courses.

She received an MFA from Yale University’s School of Art and Architecture in 1967 and a BFA in Painting from Boston University’s School of Fine and Applied Arts in 1965. She has two Honorary Doctorates, one from the Massachusetts College of Art in Boston and one from Parson School of Design/The New School University, New York.

Howardena Pindell worked at the Museum of Modern Art in New York for twelve years and was an Associate Curator of Prints and Illustrated Books. She was a visiting Professor of Art at Yale University’s School of Art from 1995 to 1999. She has received numerous grants and awards including the Guggenheim Fellowship, two National Endowment for the Arts grants, a Joan Mitchell Grant, a Studio Museum in Harlem Artist Award as well as an Anonymous Was A Woman award and the Most Distinguished Body of Work or Performance Award from the College Art Association.

Her work is in numerous private, cooperate and public collections, including the collection of the Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, The Whitney Museum of American Art, The Yale Art Museum, New Haven, The Fogg Art Museum, Harvard University, The Rhode Island School of Design Art Museum, and the Museum of Contemporary Art, Chicago among many others.

Midmarch Arts Press, New York, published a book of her writings, The Heart of the Question, in 1997. She has written articles that have appeared in The Print Collector’s News Letter (New York), Art Papers(New York), New Art Examiner ( Chicago) , International Review of African American Art (Virginia), n.paradoxa (London) and Third Text (London).

Her most recent one person exhibition in New York was at the G.R. N’Namdi Gallery in Chelsea (2006). Her work includes painting and three dimensional prints and drawings. She also incorporates photography into her work. She often works on a very large scale. She has a current one person exhibition is at Louisiana Museum of Science and Art in Baton Rouge, Louisiana (Jan.19-April 7, 2007).

"Sweat Shop" by Howardena Pindell 2005-2006
“Sweat Shop” by Howardena Pindell 2005-2006

Feminist Artist Statement:

Howardena Pindell at the Brooklyn Museum "Autobiography: Water, Ancestors, Middle Passage, Family Ghosts.
Howardena Pindell at the Brooklyn Museum “Autobiography: Water, Ancestors, Middle Passage, Family Ghosts.

One of my first one-person exhibitions was held at AIR Gallery, the first women’s cooperative at 97 Wooster Street in New York City. The New York art world was more rigidly and solidly white and male at the time than it is now and this condition was being resisted. I developed a number of tools for inward looking, personal assessment through the women’s movement’s consciousness raising processes in order to understand how racism and sexism work within the art community as well as the community at large. I found my true voice through the African American movement but received my training wheels in the women’s movement in the late 1960’s and early 1970’s. I feel that this is true because I was shy and did not have my original family and community roots in the black community in New York City, but in Philadelphia. I was invited by the white feminist community to join them, whereas the African American community in general at the time was highly critical of abstract African American artists. My use of odd materials also came through the influence of work that I saw exhibited within the feminist community. The materials I used included powder, perfume, glitter, thread and sewing sequins. African influences came by way of seeing loose hanging textiles, both here and in Africa. I saw nails in nkisi sculpture. I also was aware of a kind of stenciling and sewing together of loose fabrics as well as having a very dense and energetic surface tension in my paintings and works on paper.”  ~Howardena Pindell 

For more Feminist Art by this artist check out: 

Brooklyn Museum featuring Howardena Pindell