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This article explores the topic of politics in the song, "Revolution" by the Beatles. The song was written by John Lennon in 1968, a time of political turmoil. The article compares this song with "Street Fighting Man" by the Rolling Stones. The article explains that the two songs have a similar political message, but the song by the Rolling Stones was more favorable by the public. The article also references some of tragic events in the late 1960s that helped form the message of the song "Revolution," including: The assassination of Martin Luther King Jr., Robert F. Kennedy, and many anti-Vietnam-war protests. The article analyzes the lyrics and composition of "Revolution" exposing Lennon's skepticism about American politics. The article also gives full lyrics to "Revolution 1" for the White Album. The song shows that the Beatles were anti-war and held a position on revolution. The song had both positive and negative reviews. One of the reviews states that the lyrics were bad, but the music itself was good. An essay cited in the article by Greil Marcus noted the song express freedom and movement and made by a great rock and roll band.

Rosemblum, R. Picasso and the War Years: 1937-1945. New York: Thames and Hudson Inc., 1998. Print. Picasso's political choices are referred to. Picasso was apart of the the Spanish Republic. According to Picasso, while the painting hung in the Museum of Modern Art in New York, it was not a political piece it was simply a depiction of the horrible events of the bombing of the village of Guernica. However, later Picasso told one of his friends that Guernica is a political statement that hangs "in the middle of New York City" (Rosemblum 73). Nazi Germany ignored Picasso's works and called it "the work of a either a lunatic or a of a four-year-old" (Rosemblum 72), although it was a political statement to Nazi Germany and what they did to damage Picasso's homeland of Spain.

Uniquely situated at the heart of African-American youth culture, hip-hop is about music, style and voice. In many ways hip-hop is also about political action. Any discussion of hip-hop culture and rap music lends itself to examinations of rap as a means of protest among inner-city African-American youth. But the resistive benefits of rap music are not limited to its African-American listeners as can be seen by its widespread popularity among youth of all different races, classes and nationalities. As the cultural and political voice of an entire generation of youth, hip-hop has become a means of political action for its artists and fans. In addition to its prominent resistive role, political action in the hip-hop community includes political deliberation and direct uses of hip-hop to increase political awareness and to organize collaborative action. (From the OhioLINK abstract.)

van Hensbergen, G. Guernica: The Biography of a Twentieth-Century Icon. New York: Bloomsbury Publishing, 2004. Print. Guernica is still seen as a political work of art today. Guernica not only depicted the brutal bombings and aftermath of that April day but it is a depiction of what is yet to come. The horror of Guernica can still be seen in modern times; such as the attack on the Twin Towers in New York (van Hensbergen 1) and the war in Iraq (van Hensbergen 2). Many well known political figures refer to Guernica and it's political message in many speeches and addresses because its message is still relevant today.

Gosa, Travis. "Hip-Hop Politics, Activism, and the Future of Hip-Hop It's Bigger Than Hip-Hop: The Rise of the Post-Hip-Hop Generation by Asante, Molefi K. All About the Beat: Why Hip-Hop Can't Save Black America by McWhorter, John H. The Hip Hop Wars: What We Talk.." Journal of Popular Music Studies 21.2 (2009): 240-246. Academic Search Complete. EBSCO. Web. 19 Nov. 2010. This article really deals with the politics of hip-hop. It deals with how rap is growing and how it's only going to get bigger as time goes on. This article is very important because there are a lot of poilitics involved in hip-hop. This article deals a lot with the culture of hip-hop as well. I thnk that this is a very good article.

Chipp, H. Picasso's Guernica: History, Transformations, Meanings. Berkeley and Los Angeles, CA: University of California Press, 1988. Print. In the third chapter, the actual events that lead up to, during, and after the village of Guernica is described in detail. The village was relentlessly bombed on Monday, April 26, 1937 (Chipp 24). Hundreds of bombs were used on a defenseless town. The places that were supposed to be targeted were untouched at the end of the almost four hour bombing mission. In the twelfth chapter, Guernica's political means are discussed but since Picasso could never give a consistent answer the political meaning of Guernica is unknown. Also, the two main figures of the painting, the bull and horse, were described by a poet by the name of Juan Larrea (Chipp 196). According to Larrea, the bull was a heroic figure of "Spanish life" (Chipp 196) and the suffering horse represented the end to "Francoist regime" (Chipp 196).

Seymour, Gene. "When John Lennon Was a Political Force." Newsday (2006): 1. EBSCOhost. Web. 16 Nov. 2010. This article is discusses the impact John Lennon had on the politics of America. The article reviews the documentary "The U.S. vs. John Lennon," which portrayed the conflict between Lennon and the US conservatives. The review provides enough summary to persuade me to see the movie and learn more about the impact Lennon had on the Nixon administration.

Kinderman, William, and Philip Vandermeer. "Beethoven After Napoleon: Political Romanticism in the Late Works." Notes 61.4 (2005): 1010-3. Academic Search Complete. EBSCO. Web. 15 Nov. 2010. "Beethoven After Napoleon: Political Romanticism in the Late Works" is about Beethoven's influence on Romanticism through important writers of this era. It discusses how certain writers of the time influenced Beethoven's music and work. It also touches on the many writers that he admired during this time. Much of the music Beethoven composed during this era, including one of his famous compositions, Fifth Symphony, was persuaded by Romantic authors. This article also discusses how much Beethoven's music was influenced by political events as well.

Elmaleh, Eliane. "American Pop Art and Political Engagement in the 1960's." European Journal of American Culture 22. (2003): 181-191. EBSCO. Web. 10 Nov. 2008. This article describes the Pop Art movement in America. Pop art in the United States is an artistic movement closely associated with the 1960's. Pop Art, to most Americans, is an artistic movement that is closely related to their own culture. This article looks into Pop Art's role in the American Culture.

Adamson, Walter L. "Contexts and Debates Fascinating futurism: The historiographical politics of an historical avant-garde." Modern Italy 13.1 (2008): 69-85. Academic Search Complete. EBSCO. Web. 16 Nov. 2010. Contains descriptions of a couple distiguishable groups of futursts and elaborates on there differences. The article also gives adaquate background information on people like Marinetti as well as for the futurist and fascist movements themselves. The author indicates that there may be some confusion in separation the fascist and futurist movements but the author attemps to correct this issue.

This article makes connections between futurism and politics at the turn of the last century, particularly fascism.

"Guernica: Testimony of War." PBS.org. Web. 1 November 2010. This article has many sub-articles embedded into it that discuss different aspects of Guernica, such as Picasso's inspiration, the bombing of Guernica, and Picasso's political views. The main article discusses how Guernica came to be the center piece for the Spanish Pavilion at the Paris Exposition in 1937. It also gives an over view of the bombing of Guernica as well as the reception for the crowds that viewed it during the exposition.

Levine, Mark. Heavy Metal Islam. New York: Three Rivers Press, 2008. Print. Heavy metal, punk, hip hop, and reggae are each the music of protest and in mamy cases sonsidered immoral in the Muslim world. This music may also turn out to be the soundtrack of a revolution unfolding across the world. Why, despit sovermental attempts to control and censor the music do these musicians and fans keep playing and listening? Partly, of course because of self expression, but also because , in this region, everything is political.Heavy Metal Islam is a surprising, wildly entertaining foray into a historically authoritarian region where music just might be the true democratizing force.

Shanes, Eric. "The Pop Art Tradition: Responding to Mass Culture." Parkstone Press International (2006): Ohiolink. Web. 16 Nov. 2010. Shanes traces the roots of popular mass culture in the late 18th century when the industrial and political revolutions industrialized the Western World. Pop Art is said to have originated from Surrealism in Britain when Eduardo Paolozzi, Peter Blake, and Richard Hamilton began exploring comic books, advertising, and folk culture. Artist, Claes Oldenberg, began works of art that connected to "store exhibitions," which filled galleries with common American objects. This emphasized and worshiped consumer goods.

Alridge, Derrick P., and James B. Stewart. "Introduction: Hip Hop in History: Past, Present, and Future." The Journal of African American History 90.3 (2005): 190-95. JSTOR. Web. 27 Oct. 2010. This article is about the many books, articles, and journals on the history of Hip Hop. Hip Hop is not solely a style and musical fad, but a cultural, political, and intellectual phenomenon. It has truly evolved since its beginning in the boroughs of New York City in the 1970s. Not many people are knowledgeable about the founders of Hip Hop such as Afrika Bambaataa and Kool Herc. The article suggests that in order to appreciate the Hip Hop of today, we need to learn about its past and from there we can begin to evolve its future.

Mitchell, David. "Marinetti, Futurist and Fascist." History Today 25.10 (1975): 704. Academic Search Complete. EBSCO. Web. 15 Nov. 2010. Contains many connections between Facism and Futurism as the title indicates. These include how they targeted the young as there median for revolution, their goal of destroying old customs, and there focusing on the future rather tha the past.