IN: Sir Joseph Rotblat (4 November 1908 - 31 August 2005) was a Polish physicist, a self-described "Pole with a British passport". Rotblat worked on Tube Alloys and the Manhattan Project during World War II, but left the Los Alamos Laboratory after the war with Germany ended. His work on nuclear fallout was a major contribution toward the ratification of the 1963 Partial Nuclear Test Ban Treaty. A signatory of the 1955 Russell-Einstein Manifesto, he was secretary-general of the Pugwash Conferences on Science and World Affairs from their founding until 1973, and shared, with the Pugwash Conferences, the 1995 Nobel Peace Prize "for efforts to diminish the part played by nuclear arms in international affairs and, in the longer run, to eliminate such arms."

While still in Poland, Rotblat had realised that nuclear fission might possibly be used to produce an atomic bomb. He first thought that he should "put the whole thing out of my mind", but he continued because he thought the only way to prevent Nazi Germany from using a nuclear bomb was if Britain had one to act as a deterrent. He worked with Chadwick on Tube Alloys, the British atomic bomb project. In February 1944, Rotblat joined the Los Alamos Laboratory as part of Chadwick's British Mission to the Manhattan Project. The usual condition for people to work on the Manhattan Project was that they had to become US citizens or British subjects. Rotblat declined, and the condition was waived. At Los Alamos, he was befriended by Stan Ulam, a fellow Polish-Jewish scientist, with whom he was able to converse in Polish. Rotblat worked in Egon Bretscher's group, investigating whether high-energy gamma rays produced by nuclear fission would interfere with the nuclear chain reaction process, and then with Robert R. Wilson's cyclotron group. Rotblat continued to have strong reservations about the use of science to develop such a devastating weapon. In 1985 he related that at a private dinner at the Chadwicks' house at Los Alamos in March 1944, he was shocked to hear the director of the Manhattan Project, Major General Leslie R. Groves, Jr., say words to the effect that the real purpose in making the bomb was to subdue the Soviets. Historians, notably Barton Bernstein, have cast doubt on this story. By the end of 1944 it was also apparent that Germany had abandoned the development of its own bomb and Rotblat asked to leave the project. Chadwick was then shown a security dossier in which Rotblat was accused of being a Soviet spy and that, having learned to fly at Los Alamos, he was suspected of wanting to join the Royal Air Force so that he could fly to Poland and defect to the Soviet Union. In addition, he was accused of visiting someone in Santa Fe and leaving them a blank cheque to finance the formation of a communist cell. Rotblat was able to show that much of the information within the dossier had been fabricated. In addition, FBI records show that in 1950, Rotblat's friend in Santa Fe was tracked down in California, and she flatly denied the story; the cheque had never been cashed and had been left to pay for items not available in the UK during the war. In 1985, Rotblat recounted how a box containing "all my documents" went missing on a train ride from Washington D.C. to New York as he was leaving the country, but the presence of large numbers of Rotblat's personal papers from Los Alamos now archived at the Churchill Archives Centre "is totally at odds with Rotblat's account of events". Due to suspicions that he was a Soviet spy, Rotblat was not permitted to re-enter the United States until 1964.

Was he involved in any other controversies during this project?

OUT: Rotblat recounted how a box containing "all my documents" went missing on a train ride from Washington D.C. to New York as he was leaving the country,

input: Curtis Mayfield was known for introducing social consciousness into African-American music. Having been raised in the Cabrini-Green projects of Chicago, he witnessed many of the tragedies of the urban ghetto first hand, and was quoted saying "With everything I saw on the streets as a young black kid, it wasn't hard during the later fifties and sixties for me to write my heartfelt way of how I visualized things, how I thought things ought to be." Following the passing of the Civil Rights Act of 1964, his group the Impressions produced music that became the soundtrack to a summer of revolution. It is even said that "Keep On Pushing" became the number one sing along during the Freedom Rides. Black students sang their songs as they marched to jail or protested outside their universities, while King often used "Keep On Pushing", "People Get Ready" and "We're A Winner" because of their ability to motivate and inspire marchers. Mayfield had quickly become a civil rights hero with his ability to inspire hope and courage. Mayfield was unique in his ability to fuse relevant social commentary with melodies and lyrics that instilled a hopefulness for a better future in his listeners. He wrote and recorded the soundtrack to the 1972 blaxploitation film Super Fly with the help of producer Johnny Pate. The soundtrack for Super Fly is regarded as an all-time great body of work that captured the essence of life in the ghetto while criticizing the tendency of young people to glorify the "glamorous" lifestyles of drug dealers and pimps, and illuminating the dark realities of drugs, addiction, and exploitation. His work influenced many, and it is said that Mayfield truly introduced a new style of black music. Mayfield, along with several other soul and funk musicians, spread messages of hope in the face of oppression, pride in being a member of the black race and gave courage to a generation of people who were demanding their human rights, without abandoning the struggle for equality. He has been compared to Martin Luther King, Jr. for making a lasting impact in the civil rights struggle with his inspirational music. By the end of the decade Mayfield was a pioneering voice in the black pride movement, along with James Brown and Sly Stone. Paving the way for a future generation of rebel thinkers, Mayfield paid the price, artistically and commercially, for his politically charged music. Mayfield's "Keep On Pushing" was actually banned from several radio stations when riots began flaring up in some cities. Regardless of the persistent radio bans and loss of revenue, he continued his quest for equality right until his death. His lyrics on racial injustice, poverty and drugs became the poetry of a generation. Mayfield was also a descriptive social commentator. As the influx of drugs ravaged through black America in the late 1960s and 1970s his bittersweet descriptions of the ghetto would serve as warnings to the impressionable. "Freddie's Dead" is a graphic tale of street life, while "Pusherman" revealed the role of drug dealers in the urban ghettos.

Answer this question "What was his social activism about?"
output:
Following the passing of the Civil Rights Act of 1964, his group the Impressions produced music that became the soundtrack to a summer of revolution.