Fear of a Black Planet

1249: 1301:, as Chuck D rhymes "Elvis was a hero to most / But he never meant shit to me' / Straight up, racist the sucker was / Simple and plain", with Flavor Flav following, "Muthafuck him and John Wayne!". The lyrics, which shocked and offended many listeners at the time, express the identification of Presley with racism — either personally or symbolically — and the largely held notion among Blacks that Presley — whose musical and visual performances owed much to African-American sources — unfairly achieved the cultural acknowledgment and commercial success largely denied his black peers in 1370:, he recruited young street crews to put up posters, billboards, and stickers on public surfaces, while Simmons himself met with nightclub DJs and college radio program directors to persuade them to add albums tracks such as "Fight the Power", "Welcome to the Terrordome", and "911 Is a Joke" to their playlists. As singles, they were released on July 4, 1989, in January 1990, and in April, respectively. Two more singles were later released — "Brothers Gonna Work It Out" in June and "Can't Do Nuttin' for Ya Man" in October, with the latter also featured in the 1990 comedy film 541: 2248: 1075: 732: 1328:

got out of my mind, and I started speaking all kinds of crazy shit 'cos usually back in the days when I used to smoke, it used to broaden my ideas and everything". The humorous and satirical subject matter is reflected in the song's accompanying music video, which features a severely injured Flav being mistreated by a remiss, overdue ambulance staff. Another Flavor Flav-solo performance, "Can't Do Nuttin' for Ya Man", has lyrics advocating African-American self-reliance and denouncing

5867: 1121:, and snippets recorded by Chuck D from radio stations and sound bites of interviews and commercials. The tension-building track introduces the album's dense, sample-based production. According to Chuck D, the song features "about forty-five to fifty voices" that interweave as part of an assertive sonic collage and underscore the themes explored on subsequent tracks. "Incident at 66.6 FM", another collage that segues into " 779:, a period roughly between 1987 and 1992 when artists took advantage of emerging sampling technology before record labels and lawyers took notice. Accordingly, Public Enemy were not compelled to obtain sample clearance for the album. This preceded the legal limits and clearance costs later placed on sampling, which limited hip hop production and the complexity of its musical arrangements. In an interview with 2086: 1578: 1540: 2186: 2181: 2176: 2171: 2166: 2148: 2143: 2138: 2133: 2128: 2081: 2076: 2071: 2066: 2036: 2031: 2026: 2021: 2016: 1998: 1993: 1988: 1983: 1978: 1573: 1568: 1563: 1558: 1535: 1530: 1525: 1520: 1478: 1473: 1468: 1463: 5603: 1420:. Its success made Public Enemy the top-selling act, both domestically and internationally, for Def Jam Recordings at the time. Ruben Rodriguez, Columbia's senior vice president at the time, said in one of the label's press releases, "What's happening with Public Enemy is unbelievable. The album is selling across the board to all demographics and nationalities". In a December 1990 article, 5875: 2244:, Public Enemy had worked with production equipment that would seem primitive decades later but still managed to invent new "techniques and workarounds that electronics manufacturers never imagined". Sputnikmusic staff writer Nick Butler said the album remained an enduring and vital work in a genre that "has a habit of moving at such a pace that records date in a matter of years". 1238:. Addressing their plight at the turn of the 1990s, "Brothers Gonna Work It Out" features cacophonic sound textures and a theme of unity among African Americans, with Chuck D preaching "Brothers that try to work it out / They get mad, revolt, revise, realize / They're superbad / Small chance a smart brother's gonna be a victim of his own circumstance". Richard Harrington of 5611: 5982: 4857: 724:

from yellow and blue. As he had the production team improvise beats, much of the album was composed on the spot. In a 1990 interview, Chuck added, "We approach every record like it was a painting. Sometimes, on the sound sheet, we have to have a separate sheet just to list the samples for each track. We used about 150, maybe 200 samples on

826:, creative director for Def Jam at the time, said: "It was so interesting to me that a black hip-hop act did an illustration for their album cover. At that time, black hip-hop artists, for the most part, had photos of themselves on their covers. But this was the first time someone took a chance to do something in the rock'n'roll vein". 6034: 6062: 1333:

stuff and yet nobody wanted to give me stuff. So then if anybody ever asked me for something I would be like, 'Yo, I can't do nothing for ya man.' Next thing you know I started to vibe on it: 'I can't do nothing for ya man,' um ahh um um ahh. So I went and told that to Chuck. Chuck was like, 'Record that shit man'". According to

5950: 785:, Chuck D said: "Public Enemy's music was affected more than anybody's because we were taking thousands of sounds. If you separated the sounds, they wouldn't have been anything--they were unrecognizable. The sounds were all collaged together to make a sonic wall." An analysis by law professors Peter DiCola and 5101: 42: 1801:

is a voice for the traditionally voiceless black lower-middle class. What is extraordinary is how the group has managed to turn the specifics of their social position, as both blacks and entertainers, into music. By including facts and figures from their lives in their pieces, they've folded the real

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used in the United States — and the lack of police response to emergency calls in predominantly African-American neighborhoods. The song originated from Chuck D's suggestion for Flavor Flav to write a song. As Flav recalled, "I went and got high and wrote the record. I went and got ripped, I went and

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Amid the controversy, Chuck D was given an ultimatum by Shocklee and Stephney to dismiss Griff from the group or the production deal would fall through. He fired Griff in June, but he later rejoined and has since denied holding anti-Semitic views and apologized for the remarks. Several people who had

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saying, "Black man, black woman, black baby / white man, black woman, black baby?". "Pollywanacraka" also concerns interracial relations, including Blacks who leave their communities to marry wealthy Whites, and societal views of the matter: "This system had no wisdom / The devil split us in pairs /

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interpreted as a dual reference to hip hop tradition and the history of the group. Watrous described the music as "the sound of urban alienation, where silence doesn't exist and sensory stimulation is oppressive and predatory", and writes that its dense textures "envelop Chuck D's voice and make his

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writes that songs such as "War at 33⅓" and "Fight the Power" "may sound like a call to ohms and arms, but they are really a call to action ('turn us loose and we shall overcome'), a message to conscience and a plea for unity ('move as team, never move alone,' both cautionary advice and game plan)".

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and Afrocentric ideals among rap listeners who were previously exposed to more materialist themes in the music. Reeves said it introduced black consciousness to the "hip-hop youth" of the "post-black power generation", "as leather African medallions made popular by rappers like P.E. replaced thick

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manifesto for world domination, but a statement about racial paranoia. Though he spares virtually no one with his withering raps, Public Enemy's Chuck D is harshest of all on his fellow blacks, expounding on everything from history to fashion: Use your brain instead of a gun. Drugs are death. Know

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and arranged and overdubbed parts of backing tracks, which had been inspected by the members for snare, bass, and hi-hat sounds. Chuck D said, "Our music is all about samples in the right area, layers that pile on each other. We put loops on top of loops on top of loops, but then in the mix we cut

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dependence. It also reflects on Flav's experiences with acquaintances from poor neighborhoods. He said of his inspiration for the song, "I was in my Corvette riding from Long Island going to The Bronx. I was slipping. I was roasting. I mean I was smoked-out crazy. And everybody kept asking me for

1183:"Burn Hollywood Burn" assails the use of black stereotypes in movies, while "Who Stole the Soul?" condemns the music industry's exploitation of black recording artists and calls for reparations. "Revolutionary Generation" celebrates the strength and endurance of black women with lyrics related to 836:

Hip hop does not simply draw inspiration from a range of samples, but it layers these fragments into an artistic object. If sampling is the first level of hip hop aesthetics, how the pieces or elements fit together constitute the second level. Hip hop emphasizes and calls attention to its layered

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computer. Chuck D remarked that "95 percent of the time it sounded like mess. But there was 5 percent of magic that would happen." Shocklee compared their production to filmmaking, "with different lighting effects, or film speeds, or whatever", while Chuck D analogized to an artist creating green

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chart. It also charted for 10 weeks and reached number four in the United Kingdom, while in Canada, it charted for 28 weeks and reached number 15. By July 1990, it had sold 1.5 million copies in the US, where it ultimately peaked at number 10 and charted for 27 weeks on the Top Pop Albums. After

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a record entirely of "found sounds ... probably the most elaborate smorgasbord of sound that we did ... When we put together our music, we try to put together layers that complement each other, and then the voice tries to complement that, and the theme tries to complement that, and then the song

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in songs on the album, while sampled dialogue from speeches is incorporated to support Chuck D's arguments and commentary on certain songs. The Bomb Squad's Hank Shocklee compared their produced sounds, surrounding Chuck D's rhythmic, exhortative baritone voice, to putting "the voice of God in a

1850:

was our 'world' record". With respect to hip hop, the album was important in the field of sampling, as copyright lawyers took notice of The Bomb Squad's production and such a sample-heavy work would not be cost effective in the future. Chuck D later said of its sampling issues, "We got sued for

696:

Employing an elaborate method, the Bomb Squad reconfigured and recontextualized disparate sound fragments, while expanding their repertoire of samples to radio and other sources. According to Shocklee, "When you're talking about the kind of sampling that Public Enemy did, we had to comb through

837:

nature. The aesthetic code of hip hop does not seek to render invisible the layers of samples, sounds, references, images, and metaphors. Rather, it aims to create a collage in which the sampled texts augment and deepen the song/book/art's meaning to those who can decode the layers of meaning.

616:, he later said, "We understood the magnitude of what an album was, so we set out to make something that not only epitomized the standard of an album, but would stand the test of time by being diverse with sounds and textures, and also being able to home in on the aspect of peaks and valleys". 536:

since its introduction at the turn of the 1980s. In promoting the record, Public Enemy expanded their live shows and performing dynamic. With the album's content and the group's rage-filled showmanship in concert, they became the vanguard of a movement in hip hop that reflected a new black

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was the group's commercial apex, with sales dropping off for their subsequent albums. Chuck D said it was their most successful record, "not because of all the hype and hysteria. It was a world record. Because of all the different feels and the different textures and the flow it had".

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at the time, 500,000 and 1.1 million copies, respectively. The latter single's lyrics were initially viewed by religious groups and the media as anti-semitic upon its release. The album contributed to hip hop's commercial breakthrough at the beginning of the 1990s, despite its limited

1140:: "Crucifixion ain't no fiction / So called chosen frozen / Apology made to who ever pleases / Still they got me like Jesus". He is also critical of Blacks and those who "blame somebody else when you destroy yourself": "Every brother ain't a brother / 'cause a Black hand squeezed on 552:

In May 1989, Chuck D, Bomb Squad producer Hank Shocklee, and Def Jam executive Bill Stephney were negotiating with several labels for a production deal from a major record company, their goal since starting Public Enemy in the early 1980s. As they were in negotiations, group member

976:, Richard Schur interpreted such layering as a motif in hip hop and as "the process by which ... new meanings are created and communicated, primarily to an equally knowledgeable audience", concluding that "Public Enemy probably took the ideal of layering to its farthest point". 768:

took place at Greene St. Recording and lasted until February 1990. According to Sadler, "a lot of people were like, 'Wow, it's a brilliant album'. But it really shoulda been much better. If we had more time and we didn't have to deal with the situation of nobody talking".

701:'s perspective. Eric is coming from a musician's perspective." Sadler's approach was more traditional and structured, while Shocklee's was more experimental. As the main lyricist, Chuck D wanted to recontextualize the sampled material into his lyrics and create a theme. 1011:

called Chuck D's language "strong and elusive, often fragmentary" and "embedded critical, sometimes brutal thoughts". Although he viewed that "some people might disagree with some of these ideas", Sandow wrote that "it's hard to dispute the lyrics' assertion that many

1136:, and criticizes Jewish leaders who protested Public Enemy in response to Professor Griff's anti-Semitic remarks. Chuck D addresses the controversy from the perspective of someone in the center of political turmoil, with criticisms of the media and references to the 571:

were the cause of "the majority of the wickedness" in the world. Public Enemy received media scrutiny and criticism from religious organizations and liberal rock critics, which added to charges against the group's politics being racist, homophobic, and misogynistic.

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remarked that the content epitomizes the group's significance at the time: "Public Enemy are important ... because of the angry questions that seethe in their music, in the very fabric of their sound; the bewilderment and rage that, in this case, have made for one

697:

thousands of records to come up with maybe five good pieces. And as we started putting together those pieces, the sound got a lot more dense." Hank Shocklee called it "a production assembly line where each person had their own particular specialty ... came from a

1680:, felt that its "brutal pace" loses momentum and that the group's lyrics are ideologically flawed, but wrote that although their "rebel music" is gimmicky, "this is show business, and they still think harder than anybody else working their beat." Peter Watrous of 1780:

The music outdistances other political pop with both its urgency and its visionary approach to the dance floor. And the group has made pop music that is vital in the contemporary debate about race in American culture for the first time since the 1960s, when

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estimated that under the sample clearance system that developed after the album's release, Public Enemy were to lose at least five dollars per copy if they were to clear the album's samples at 2010 rates, a loss of five million dollars on a platinum record.

1051:

your past so you won't screw up the future. Gold chains worn around the neck demean the brotherhood in South Africa." Kot wrote of Chuck D's perspective and the theme of fear, "It's fear that divides us, he says; understand me better and you won't run.

1156:/ Still some quiver when I deliver / Never to say I never knew or had a clue / Word was heard, plus hard on the boulevard / Lies, scandalizin', basin' / Traits of hate who's celebratin' wit Satan?". Among the samples used for the song are several 451:

and political subject matter in hip hop and the genre's mainstream resurgence at the time. Since then, it has been viewed as one of hip hop's greatest and most important records, as well as being musically and culturally significant. In 2004, the

763:

and to create these layers of sound," Chang said. "I don't think it's been matched since then." After the tracks were completed, the Bomb Squad began sequencing what was at first a seemingly discontinuous album, amid internal disputes. Final

2227:

from AllMusic believed that "as a piece of music, this is the best hip-hop has ever had to offer", calling it "a remarkable piece of modern art, a record that ushered in the '90s in a hail of multi-culturalism and kaleidoscopic confusion".

1862:

also helped popularize political subject matter in hip hop music, as it epitomized the resurgence in black consciousness among African-American youths at the turn of the 1990s, amid a turbulent social and political zeitgeist during the

1656:

observed "some of the genre's most sophisticated sound designs and unconventionally agile rapping" on the album and called it "a major piece of work, the first hard evidence of rap's maturity and a measure of its continuing relevance".

5569: 5537: 1226:", "Power to the People", and "Brothers Gonna Work It Out" propose a response for African Americans to the issues criticized throughout the album. "Power to the People" has a tempo of approximately 125 beats per minute, fast-paced 1649:

found it powerfully relevant to contemporary American culture and unparalleled by anything in popular music: "It sounds like a partly African, partly postmodern collage, stitched together on tumultuous urban streets." Tom Moon of

967:

rapping sound as if it is under duress, as if he were fighting against a background intent on taking him over ... Layer after layer of sounds are placed on top of each other until the music becomes nearly tactile". Chuck D called

1361:

garnered Public Enemy more exposure with black audiences and music journalists, urban radio outlets had mostly rejected Def Jam's requests to include the group's singles in their regular rotation. This incited Def Jam co-founder

602:"We wanted really to go with a deep, complex album ... more conducive to the high and lows of great stage-performance." Chuck D also cited the commercial circumstances for hip hop at the time, having quickly transitioned from a 6217:

Wazir, Burhan (July 21, 1995). "Public Enemy: Yo! Bum Rush the Show / It Takes a Nation of Millions to Hold Us Back / Fear of a Black Planet / Apocalypse 91.... The Enemy Strikes Black / Greatest Misses (Island/Def Jam)".

626:

We wanted to create a new sound out of the assemblage of sounds that made us have our own identity. Especially in our first five years, we knew that we were making records that will stand the test of time. When we made

1093: 1099:

The track features dizzying, internal rhyme schemes by Chuck D and has been described by one music writer as "a complete sonic apocalypse". Chuck D called it "a black male correspondent's view of how we looked at

1851:

everything. We knew that the door on sampling was gonna close". Subsequent use of sampled material, particularly the use of whole songs on top of a beat, by other hip hop artists prompted stricter sampling laws.

6484: 2348:

brought hip-hop respect from critics, millions of new fans and passionate debate over its political content. The album signaled the coupling of a strongly political message with hip-hop music". In 2013,

1909:. Christgau wrote in 1990 that Public Enemy had become not only "the most innovative popular musicians in America if not the world" but also "the most politically ambitious. Not even in the heyday of 447:

sold two million copies in the United States and received rave reviews from critics, many of whom named it one of the year's best albums. Its success contributed significantly to the popularity of

5577: 5547: 1830:

editor Paul Grein said was "the year that rap exploded". In a July 1990 article, Kot compared Public Enemy's influence on hip hop with the album at the start of the 1990s to the impact of

7248: 673:

in New York City, The Music Palace in West Hempstead, and Spectrum City Studios in Hempstead—from June to October 1989. It was produced by The Bomb Squad—Chuck D, Eric "Vietnam" Sadler,

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of hip-hop". Keith, significant in composing the main tracks and music, received here his first official credit as a team member. For the album, they sought to expand on the dense,

1180:'s John Bush cites the track as "the production peak of the Bomb Squad and one of Chuck D.'s best rapping performances ever ... one of their tracks were more musically incendiary". 1091: 1748:

s Robert Hilburn, who wrote that it "dissects aspects of the black experience with an energy and vision that illustrates why rap continues to be the most creative genre in pop".

1027:

in the United States and throughout much of the world". Sputnikmusic's Nick Butler observed "two recurring themes – inter-racial relationships ... and the racism inherent in the

595:'s an issue created and concocted to take advantage of people of various characteristics with the benefit of a few". He recalled their concept for the album in an interview with 1602:

was met with rave reviews from critics. After asserting prior to its release that it was "bound to be one of the most dissected pop collections in years", Robert Hilburn of the

1337:, on both of the album's Flavor Flav songs, the rapper "affects a tone of gimme-a-break sarcasm that is crucial to both tracks, and is welcome respite from Chuck D.'s assault". 532:

statement, amid media criticism of the genre. It helped give hip hop a critical credibility and standing in the popular music community after it had been largely dismissed as a

4699: 8029: 1092: 2268:

ranked it number 50 on their 100 Best Albums Ever list, which was voted on by a panel of various artists, critics, and DJs. The following year, it was selected as one of

1842:

on each of their respective genres and eras, having "given it legitimacy and authority far beyond its core following". Chuck D later said of the album in retrospect, "If

1925:

However, this resurgence soon became commodified as a trend, while actual awareness within the African-American community was limited and ineffectual to issues such as

5129: 1935:(1991), which featured more critical assessments of African-Americans, denouncing Black drug dealers who donned Afrocentric merchandise, hip hop artists who promoted 1195:. The title track discusses racial classification and the origins of Whites fearing African Americans, particularly racist concerns by some Whites over the effect of 8379: 1929:

and the prevalence of liquor stores in such neighborhoods. Public Enemy responded to this and other deep-rooted problems of Black America on their following album,

6514: 1426:

writer Michael Corcoran discussed Public Enemy's commercial success with the album and remarked that "more than half of the 2 million fans who bought are white".

2223:

was first released, it has been viewed by critics as one of the greatest and most important hip hop albums of all time, as well as a culturally significant work.

6492: 1763: 897: 3966:"Rap—The Power and the Controversy: Success has validated pop's most volatile form, but its future impact could be shaped by the continuing Public Enemy uproar" 6251: 913:, to craft a soundscape that was more challenging than that of their previous two albums, but still complemented the complex social commentary". Journalist 7308: 2289: 2045: 1245:"War at 33⅓" has a theme of resistance and a 128 bpm-tempo, cited by Chuck D as "the fastest thing I've ever rapped to, rapping right on top of the beat". 591:'s theory of "Color Confrontation and Racism (White Supremacy)" into an album-length recording. According to Chuck D, this involved "telling people, well, 8036: 4297: 1713:

felt that with the album, "Public Enemy affirms that it is not just a great rap group, but one of the best rock bands on the planet-black or otherwise".

6650: 4042: 2338:, which selects recordings annually that are "culturally, historically, or aesthetically significant". According to a press release for the registry, " 2302: 474: 1731:

critics' poll, and the publication's Robert Christgau ranked it number 10 on his own "Dean's list". It was named the second best album of the year by

408:

aural sources took advantage of creative freedom that existed before the emergence of a sample clearance system in the music industry. Thematically,

4249: 8344: 1153: 1312:. "Fight the Power" has since become the group's best-known song and has been named one of the best songs of all time by numerous publications. 6685: 1754:

named it one of the year's best albums and hailed it as "possibly the boldest and most important rap record ever made. A sonic tour de force".

863:-influenced approach reflects the political and confrontational tones of the group's lyrics, with sound collages that feature varying rhythms, 4560: 576:

worked with Public Enemy expressed concern about Chuck D's leadership abilities and role as a social spokesman. Def Jam director of publicity

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gold chains as the ultimate fashion statement ... P.E.'s million seller sat at the front of a full-blown black pride resurgence within rap".

629: 487: 365: 213: 7150: 5715: 8369: 6986: 6737: 5799: 4527: 2354: 1635:

praised Public Enemy's self-assured and realistic lyrics, and viewed the album as a deeper, more focused version of "the careening rage of

801:, who had been pursuing the Bomb Squad to produce his debut album. The recording marked one of the first times in which MCs from different 8064: 1173: 6749: 6697: 1019:

afraid of blacks", adding that the album "touches on" the idea of "an age when whites understand that they're a minority in the world".

7100: 1403:

The controversy surrounding the group and their exposure through the singles "Fight the Power" and "Welcome to the Terrordome" helped

7252: 3611: 5445: 1125:", contains snippets from a radio call-in show interview of Chuck D and alludes to the media persecution perceived by Public Enemy. 7980: 6725: 4709: 1931: 1625:

called it "a masterpiece of innovation challenging music" that makes the group's pro-black lyrics more interesting and plausible.

649: 231: 4811: 793:

For the track "Burn Hollywood Burn", Chuck D dealt with clearance issues from different record labels to collaborate with rappers

4147: 6868: 7882: 3572: 1200: 635: 417: 7041: 495:, exemplified a new production aesthetic in hip hop. The controversial, politically charged lyrics by the group's lead rapper 7702: 7681: 7603: 7552: 7527: 7503: 7449: 7294: 1290: 374: 7830: 8202: 8089: 7397:

Def Jam, Inc. : Russell Simmons, Rick Rubin, and the Extraordinary Story of the World's Most Influential Hip-Hop Label

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was black and "white comes from black / No need to be confused". The song features a vocal sample of comedian and activist

7198: 1720:

appeared in the top-10 of several critics' lists of the year's best albums. It was voted the third best record of 1990 in

937:

said it was "a work of unprecedented density for hip hop, its claustrophobic, backs-against-the-wall feel harking back to

8349: 8174: 3219: 2759: 1824:

s success with critics and consumers was viewed as a significant factor to hip hop's mainstream emergence in 1990, which

1223: 1168:". Several other samples are heard amid Chuck D's rapping, such as the line "come on, you can get it-get it-get it" from 266: 5287: 1042:"was as much a musical assault on America's racism as it was a call to blacks to effectively react to it". According to 887:, and hip hop genres. Elements such as choruses, guitar sounds, or vocals from sampled recordings are reappropriated as 369:(1988). Having fulfilled their initial creative ambitions with that album, the group aspired to create what lead rapper 8354: 3723: 1084: 392:

features elaborate sound collages that incorporate varying rhythms, numerous samples, media sound bites, and eccentric

7772: 7659: 7636: 7426: 7405: 7384: 7352: 7322: 6425: 3786: 3694: 8359: 8167: 6322:

Dale, Jon (February 2015). "Public Enemy: It Takes a Nation of Millions to Hold Us Back / Fear of a Black Planet".

3057: 7812: 6540: 8364: 8001: 2301:

on their "Essential Recording of the '90s" list, and in 2003, the magazine ranked it number 300 on their list of

1864: 1305:. The line regarding John Wayne refers to his controversial personal views, including racist remarks made in his 6595: 1281:, a film about racial tension in a Brooklyn neighborhood. Lee approached the group in 1988 after the release of 1248: 8223: 8209: 8057: 7745: 7721: 7584: 7475: 3778: 3750: 1835: 6664: 5868:"MAINSTREAM RAP; Cutting-edge sound tops pop in a year of controversy; Video's child take beat to new streets" 4923: 4889: 1612:" while "maintaining commercial and artistic credibility in the fast-changing rap world" with original music. 1293:" to a modernist perspective. The song's third verse contains disparaging lyrics about popular American icons 1219:

and condemns homosexuality: "Man to man / I don't know if they can / From what I know / The parts don't fit".

8160: 8043: 7622: 7370: 7227: 3596: 2195: 2157: 1939:, black radio stations for lacking significant airplay to hip hop, and even the Africans at the onset of the 1896: 1055:

is about achieving that understanding, but on Public Enemy's terms. In presenting their view of life from an

991:

community, and of confrontation. Chuck D's critical lyrics on the album, interspersed with the surrealism of

943: 765: 6843: 2305:, and 302 in a 2012 revised list, and number 176 in a 2020 revised list. The record was ranked number 21 in 972:

itself tries to complement the album as a whole, fitting into the overall context." In his essay on hip hop

8255: 6961: 4291: 1868: 712: 7562:

National Association of Interdisciplinary Ethnic Studies, National Association for Ethnic Studies (1992).

6818: 3814: 1366:

to attempt grassroots promotional tactics from his earlier years of promoting hip hop shows. In promoting

491:

to critical and commercial success. Their music's dense textures, provided by the group's production team

8374: 3673:

Henderson, Alex (2001). "Public Enemy - Fear of a Black Planet". In Bogdanov, Vladimir; Woodstra, Chris;

2335: 1329: 1192: 457: 6515:"500 Greatest Albums of All Time Rolling Stone's definitive list of the 500 greatest albums of all time" 6009: 3649: 2240:

said it "achieved the near impossible by being every bit as good as its predecessor". In the opinion of

1285:

with the proposition of making a song for his movie. Chuck D wrote most of the song attempting to adapt

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illustrator. His design illustrated Chuck D's concept of two planets, the "Black" planet and Earth,

8284: 8279: 8082: 7994: 7669: 6713: 6412: 5795: 5446:"In the Summer of 1989 "Fight the Power" Saved Public Enemy & Almost Sank 'Do the Right Thing'" 5364: 3253: 3045: 2283: 2233: 2229: 1165: 854: 401: 6799: 6777: 4959: 8248: 7314: 6903: 6565: 5512: 4565: 3674: 3418: 3241: 3096: 2224: 1900: 1887: 1877: 933:

heart. They would graft together dozens of fragmentary samples to create a single song collage."

753: 5809: 4537: 1871:. Black consciousness became the prevailing subject matter of many hip hop acts, exemplified by 1797:

and others charged their music with politics. Unthinkable without the context of racial strife,

1148:/ from the hand of Nig who pulled the trigger". His lyricism features dizzying rap patterns and 544:

Public Enemy wanted to create an album more conducive to dynamic live performance (group leader

7125: 7075: 7011: 6925: 6179:"Public Enemy: Fear of a Black Planet, and Apocalypse 91 ... The Enemy Strikes Black (Def Jam)" 5633: 17: 6626:"Librarian Names 50 Recordings to the 2004 Registry – The Library Today (Library of Congress)" 6442: 6297: 5983:"BEST & WORST 1990; POP: Rock 'n' roll got hammered, but its life and energy haven't died" 5368: 3815:"The Top 100 Hip-Hop Albums of the '90s: 1990-1994 - 1. Public Enemy – Fear of a Black Planet" 8262: 8230: 8139: 7959: 7868: 7459: 7216: 6569: 6039: 4982: 1750: 776: 588: 433: 7438:

New Essays on the African American Novel: From Hurston and Ellison to Morrison and Whitehead

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The opening track, "Contract on the World Love Jam", is a sound collage made up of samples,

8339: 8302: 8290: 8050: 7441: 6803: 6785: 6183: 6178: 5482: 5182: 4816: 4152: 3321: 3258: 3126: 2007: 1940: 1826: 1798: 1645: 1487: 1384: 1137: 1024: 996: 670: 597: 563: 421: 84: 6761: 1152:: "Lazer, anastasia, maze ya / Ways to blaze your brain and train ya ... Sad to say I got 1023:

believed that the songs "decried what Chuck D. saw as the consequences of white, European

412:

explores organization and empowerment within the black community, social issues affecting

8: 8022: 7628: 7495: 7286: 7283:

Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language

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collaborated, and it led to the Bomb Squad working with Ice Cube on his 1990 debut album

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consciousness and socio-political dynamic that were taking shape in America at the time.

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ideal of raising political consciousness with music." Their music on the album inspired

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called it "an essential pop album" and stated, "On their own, the lyrics seen [

1682: 1372: 1350: 1306: 1286: 1277: 995:, also concern contemporary black life, the state of race relations, and criticisms of 962: 960:

Some tracks used elements from Public Enemy's previous material, which Pete Watrous of

802: 397: 348: 173: 120: 6252:"Public Enemy: It Takes a Nation of Millions to Hold Us Back / Fear of a Black Planet" 1267:"Fight the Power" features revolutionary rhetoric by Chuck D and was used by director 8318: 8195: 7799: 7778: 7768: 7741: 7717: 7698: 7692: 7677: 7655: 7632: 7599: 7580: 7548: 7538: 7523: 7519:

Freedom of Expression®: Resistance and Repression in the Age of Intellectual Property

7499: 7471: 7445: 7422: 7416: 7401: 7395: 7380: 7348: 7336: 7318: 7290: 7191: 6709: 6421: 6089: 5772: 5067: 4776: 3970: 3782: 3746: 3741: 3719: 3690: 3069: 1676: 1604: 1587: 1422: 1393: 720: 516: 1692:] functional. Taken with the music, they bloom with meaning." Simon Reynolds of 7794: 7489: 7304: 6324: 5955: 4650: 4408: 4283: 3858: 3653: 3237: 2207: 1733: 1671: 1354: 988: 682: 413: 360: 352: 178: 125: 5062: 3907: 2934:

Eric "Vietnam" Sadler – arranger, director, programming, producer, sequencing

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Somebody Scream!: Rap Music's Rise to Prominence in the Aftershock of Black Power

7576: 7544: 6765: 5924: 5897: 4987: 4894: 4655: 3770: 3766: 3686: 3550:

returned to the R&B designation, the chart was called the Hot Black Singles.

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Somebody Scream!: Rap Music's Rise to Prominence in the Aftershock of Black Power

1013: 1000: 554: 512: 508: 425: 378: 188: 135: 6625: 6136: 5265: 4352: 731: 677:, and his brother Hank Shocklee—while Chuck D called Hank, their director, "the 8296: 8015: 8008: 7942: 7513: 5542: 5097: 4695: 4338: 4245: 3961: 3862: 3682: 3226: 3020: 2566: 2552: 2379: 2375: 2367: 2241: 1905: 1892: 1794: 1622: 1235: 1184: 1149: 1145: 1020: 934: 914: 794: 786: 748: 740: 674: 603: 504: 492: 356: 249: 193: 95: 3866: 8333: 8188: 7790: 7782: 7731: 7651: 7485: 7376: 7366: 6518: 5831: 5710: 4404:"Classic Album: Public Enemy – It Takes A Nation Of Millions to Hold Us Back" 3361: 3271: 3108: 2438: 1728: 1627: 1549: 1388: 1316: 1302: 1294: 1260: 1227: 1196: 1129: 953: 922: 910: 686: 568: 558: 500: 466: 340: 292: 130: 88: 587:, the group sought to make a more thematically focused work and to condense 7937: 7891: 7826: 7202: 6417: 6407: 6220: 5836: 4704: 3799: 3581: 2815:"Burn Hollywood Burn (Extended Censored Fried to the Radio Version)" – 3:42 2703: 2278: 2264: 2119: 2057: 1759: 1694: 1511: 1204: 1169: 1060: 1056: 888: 868: 736: 708: 705: 678: 499:, whose braggadocio raps contained references to political figures such as 448: 393: 382: 344: 336: 200: 165: 54: 7540:

Don't Rhyme for the Sake of Riddlin': The Authorized Story of Public Enemy

7223: 7910: 7834: 7808: 7249:"American album certifications – Public Enemy – Fear of a Black Planet" 7199:"Canadian album certifications – Public Enemy – Fear of a Black Planet" 4807: 4380: 3007: 2447: 2371: 1936: 1786: 1640: 1252: 1157: 1047: 1008: 1004: 992: 948: 758: 698: 640: 429: 373:

called "a deep, complex album". Their songwriting was partly inspired by

140: 113: 41: 7224:"British album certifications – Public Enemy – Fear of a Black Planet" 1670:

is a challenging listen, "How it's met depends on how it's understood."

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has any group come so close to the elusive and perhaps ridiculous '60s

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The controversial "Welcome to the Terrordome" references the murder of

1118: 1109: 925:

experience", adding that the Bomb Squad "took sampling to the level of

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things away." Their production was innovative, according to journalist

577: 1319:" features Flav as the main vocalist and criticizes the inadequacy of 7344: 7332: 6793: 6660: 5106: 4452: 3912: 1910: 1831: 1614: 1272: 1268: 1199:. In the song, Chuck D argues that they should not worry because the 1141: 823: 716: 580:

later said that the controversy "partly ... fueled the writing of ".

385:

public comments and his consequent dismissal from the group in 1989.

1063:, perspective, P.E. challenges listeners to step into their world." 5333: 4885: 4505: 4347: 4183: 3715: 2561: 2548: 1970: 1710: 1334: 1256: 1216: 1208:

and taught us white is good, black is bad / and black and white is

1177: 1043: 930: 926: 918: 864: 798: 612: 610:

medium in the music industry during the 1980s. In an interview for

2833:"Fight the Power ("Do the Right Thing" Soundtrack Version)" – 5:23 7924: 7903: 7854: 6447: 3407: 2314:

s "100 Greatest Albums, 1985–2005" publication, and number 17 on

1417: 1187:, an unfamiliar topic in contemporary hip hop. It also addresses 819: 659: 545: 496: 370: 7831:"20 Years On: Remembering Public Enemy's Fear Of A Black Planet" 2744:"Final Count of the Collision Between Us and the Damned" (Outro) 8313: 8115:

Power to the People and the Beats: Public Enemy's Greatest Hits

7860: 5604:"A+ for Chuck D. Public Enemy is a textbook for race relations" 2883:

Chuck D – arranger, director, producer, rapper, sequencing

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For the album's artwork, Public Enemy enlisted B.E. Johnson, a

6686:"Australiancharts.com – Public Enemy – Fear of a Black Planet" 2949:

Keith Shocklee – arranger, director, producer, sequencing

6771: 6710:"Offiziellecharts.de – Public Enemy – Fear of a Black Planet" 4043:"RECORDINGS; Public Enemy Makes Waves – and Compelling Music" 2946:

Hank Shocklee – arranger, director, producer, sequencing

1320: 607: 49: 7573:

The Greenwood Encyclopedia of African American Folklore: G-P

6743: 6719: 6691: 6485:"500 Greatest Albums: Fear of a Black Planet – Public Enemy" 5576:. Vol. 53, no. 3. December 1, 1990. Archived from 4528:"Interview with Chuck D & Hank Shocklee of Public Enemy" 8030:

How You Sell Soul to a Soulless People Who Sold Their Soul?

7467: 6738:"Swedishcharts.com – Public Enemy – Fear of a Black Planet" 5264:. Jim Crow Museum at Feris State University. Archived from 4250:"Creative License: The Law and Culture of Digital Sampling" 2277:

s 100 Best Rap Albums. In 2000, it was voted number 617 in

987:

contains themes of organization and empowerment within the

906: 905:

introduced a production style that "borrowed elements from

876: 815: 7795:"The Great Albums: Public Enemy, 'Fear of A Black Planet'" 7335:(2004). "Public Enemy: Confrontation". In Forman, Murray; 6679: 5338:"'Fear Of A Black Planet' – Concept Rap From Public Enemy" 921:

and pop, mixing politics with the live-wire thrill of the

7646:

Romanowski, Patricia; George-Warren, Holly, eds. (2001).

7179:. Vol. 111, no. 50. New York. December 11, 1999 6800:"Public Enemy Chart History (Top R&B/Hip-Hop Albums)" 6750:"Swisscharts.com – Public Enemy – Fear of a Black Planet" 6703: 6655: 5804: 2095: 1688: 1499: 533: 528:

s success helped raise hip hop's profile as both art and

6698:"Dutchcharts.nl – Public Enemy – Fear of a Black Planet" 6443:"Music critic Christgau delivers new guide to consumers" 6063:"A List of Nominations For the 33d Annual Grammy Awards" 5546:. Vol. 52, no. 4. June 9, 1990. Archived from 2809:"Can't Do Nuttin' for Ya Man (U.K. 12″ Powermix)" – 4:06 1608:

wrote that the album "rivals the force and the power of

7645: 6731: 5768:"Aragon books a potent pair: Public Enemy, Sonic Youth" 5163: 2928:

Alan "JJ/Scott" Plotkin – engineer, mixing, vocals

898:

The Greenwood Encyclopedia of African American Folklore

5288:"A note of hope from voices of experience: Correction" 4777:"Public Enemy – Fear of a Black Planet (staff review)" 3679:

All Music Guide: The Definitive Guide to Popular Music

2839:"Fight the Power (Flavor Flav Meets Spike Lee)" – 4:34 1345:

Originally intended for an October 1989 release date,

867:

or scratchy samples, media sound bites, and eccentric

4924:"'Fear of a Black Planet' touches universal concerns" 4148:"20 Years of Public Enemy's 'Fear Of A Black Planet'" 739:

drum machine and sampler, one of the devices used by

7276: 6350: 6283:. No. 108. London. September 1995. p. 132. 5834:(May 1990). "Public Enemy: Fear of a Black Planet". 3650:"The Making of Ice Cube's "AmeriKKKa's Most Wanted"" 7767:. London: Flame Tree Publishing. pp. 290–291. 7694:

Dancing in Your Head: Jazz, Blues, Rock, and Beyond

6956: 6954: 6952: 6950: 6948: 6946: 6755: 6726:"Charts.nz – Public Enemy – Fear of a Black Planet" 6700:(in Dutch). Hung Medien. Retrieved April 15, 2021. 6473:. No. 812. New York. May 13, 1999. p. 70. 5375:. Vol. 5, no. 6. New York. pp. 68–74 4561:"How to Make a Documentary About Sampling--Legally" 2806:"Can't Do Nuttin' for Ya Man (Full Rub Mix)" – 4:44 2785: 2378:unless noted otherwise. All tracks are produced by 2851:Credits are adapted from the album's liner notes. 2818:"Anti-Nigger Machine (Uncensored Extended)" – 1:59 2232:cited it as one of "the most densely packed sonic 485:In 1988, Public Enemy released their second album 7648:The Rolling Stone Encyclopedia of Rock & Roll 5262:"Question of the Month: Elvis Presley and Racism" 4455:(September 1990). "Public Enemy: Confrontation". 3571: 2803:"Welcome to the Terrordome (Terrormental)" – 3:38 363:-layered sound of Public Enemy's previous album, 8380:United States National Recording Registry albums 8331: 8037:Most of My Heroes Still Don't Appear on No Stamp 7436:King, Lovalerie; Selzer, Linda F., eds. (2008). 6943: 6576:. Vol. 21, no. 7. New York. p. 78 5159: 5157: 4991:. Vol. 5, no. 12. New York. p. 58 4107:"POP MUSIC REVIEW: Public Enemy Keeps Up Attack" 3857: 2842:"The Enemy Assault Vehicle Mixx (Medley)" – 9:25 2827:"Revolutionary Generation (Instrumental)" – 5:46 2700:"Leave This Off Your Fuckin' Charts" (Interlude) 857:that draw on numerous sources. The production's 747:To synchronize the samples, the Bomb Squad used 6962:"Fear of a Black Planet – Public Enemy: Awards" 5959:. December 20, 1990. p. 17. Archived from 4296:: CS1 maint: others in cite AV media (notes) ( 3627:Shipments figures based on certification alone. 2812:"Can't Do Nuttin' for Ya Man (Dub Mixx)" – 4:03 1407:exceed the sales of their previous two albums, 1212:too bad". "Meet the G That Killed Me" features 7310:Christgau's Consumer Guide: Albums of the '90s 6663:. October 26, 2013. p. 62. Archived from 5280: 5178:"'Fear of a Black Planet' 20 Year Anniversary" 3773:. In Forbes, Bruce; Mahan, Jeffrey H. (eds.). 2290:Christgau's Consumer Guide: Albums of the '90s 355:, and produced by the group's production team 7967:It Takes a Nation of Millions to Hold Us Back 7876: 7341:That's the Joint!: The Hip-Hop Studies Reader 7120: 7118: 7006: 7004: 6894: 6892: 6890: 6888: 6886: 5154: 5008: 5006: 4858:"Public Enemy's 'Black Planet': All the Rage" 4851: 4849: 4847: 4845: 4843: 4841: 4839: 4141: 4139: 4137: 4135: 4133: 4131: 4129: 4127: 3647: 1875:'s cultural nationalism on their debut album 691:It Takes a Nation of Millions to Hold Us Back 630:It Takes a Nation of Millions to Hold Us Back 585:It Takes a Nation of Millions to Hold Us Back 488:It Takes a Nation of Millions to Hold Us Back 366:It Takes a Nation of Millions to Hold Us Back 214:It Takes a Nation of Millions to Hold Us Back 7173:"Billboard R&B Charts Get Updated Names" 7151:"Public Enemy – Can't Do Nuttin' For Ya Man" 6844:"Top R&B/Hip-Hop Albums – Year-End 1990" 6406: 5387: 5092: 5090: 5088: 5086: 5056: 5054: 5052: 5050: 5025: 5023: 5021: 4430: 4428: 4426: 4244: 4067: 4065: 2293:as among the decade's most essential works. 2163: 2125: 2063: 2013: 1975: 1555: 1517: 1460: 1413:It Takes a Nation of Million to Hold Us Back 7712:Strong, Martin Charles (October 21, 2004). 7126:"Brothers Gonna Work It Out – Public Enemy" 7101:"Public Enemy – Brothers Gonna Work It Out" 6987:"Public Enemy – Welcome To The Terror Dome" 6619: 6617: 6160: 6158: 6115: 6113: 6111: 5761: 5759: 5428: 5426: 5311: 5309: 5243: 5241: 5228: 5226: 5224: 4737: 4735: 4733: 4731: 4729: 4727: 4690: 4688: 4593: 4591: 4589: 4587: 4585: 4583: 4495: 4493: 4491: 4489: 4476: 4474: 4472: 4470: 4468: 4447: 4445: 4443: 4309: 4307: 4036: 4034: 4032: 4030: 4028: 4026: 4024: 4022: 4020: 3956: 3954: 3952: 3950: 3948: 3946: 3944: 3942: 2824:"Power to the People (Instrumental)" – 2:42 2791:"Brothers Gonna Work It Out (Remix)" – 5:51 1315:Written by Flavor Flav, Shocklee, Sadler, " 1174:I Got My Mind Made Up (You Can Get It Girl) 619: 515:, intensified the group's affiliation with 8065:What You Gonna Do When the Grid Goes Down? 7883: 7869: 7435: 7115: 7068: 7012:"Welcome to the Terrordome – Public Enemy" 7001: 6883: 6819:"Top Billboard 200 Albums – Year-End 1990" 6383: 6176: 6010:"POP MUSIC: A Year of Confession and Rage" 5438: 5003: 4960:"Welcome to the Terrordome – Public Enemy" 4855: 4836: 4747: 4675: 4673: 4624: 4240: 4238: 4236: 4234: 4232: 4230: 4228: 4226: 4172: 4170: 4145: 4124: 4100: 4098: 4096: 4094: 4092: 4018: 4016: 4014: 4012: 4010: 4008: 4006: 4004: 4002: 4000: 3899: 3889: 3887: 3841: 3839: 3837: 3835: 704:The Bomb Squad used devices including the 40: 7789: 7737:Joel Whitburn's Top Pop Singles 1955–2002 7393: 7303: 7253:Recording Industry Association of America 7036: 7034: 7032: 6981: 6979: 6762:"Public Enemy | Artist | Official Charts" 6752:. Hung Medien. Retrieved April 15, 2021. 6740:. Hung Medien. Retrieved April 15, 2021. 6728:. Hung Medien. Retrieved April 15, 2021. 6688:. Hung Medien. Retrieved April 15, 2021. 6491:. New York. November 2003. Archived from 6332: 6204: 6134: 6087: 6043:. Columbia. January 11, 1991. p. 12D 5989:. McLean. December 24, 1990. p. 04.D 5922: 5393: 5130:"The Top 200 Tracks of the 1990s: 100–51" 5096: 5083: 5060: 5047: 5018: 4802: 4800: 4798: 4796: 4794: 4770: 4768: 4766: 4764: 4762: 4630: 4603: 4423: 4224: 4222: 4220: 4218: 4216: 4214: 4212: 4210: 4208: 4206: 4077: 4062: 3905: 3672: 2901:Dave Harrington – assistant engineer 2794:"Brothers Gonna Work It Out (Dub)" – 5:10 7981:Apocalypse 91... The Enemy Strikes Black 7730: 7613:Relic, Peter (2004). "Public Enemy". In 7062: 6614: 6558: 6279:"Public Enemy: Fear of a Black Planet". 6235:"Public Enemy: Fear of a Black Planet". 6155: 6108: 5866:Jones IV, James T. (December 20, 1990). 5865: 5861: 5859: 5765: 5756: 5696: 5694: 5692: 5651: 5597: 5595: 5423: 5306: 5238: 5221: 5209: 5035: 4724: 4694: 4685: 4620: 4618: 4580: 4486: 4465: 4440: 4402:Marshall, Kingsley (December 11, 2009). 4401: 4395: 4319: 4304: 4274: 4272: 3985: 3939: 3927: 3812: 3745:. Time Home Entertainment. p. 175. 3712:Listen to Rap! Exploring a Musical Genre 2943:Christopher Shaw – engineer, mixing 2880:Chris Champion – assistant engineer 2859:Kamarra Alford – assistant engineer 2409:"Contract on the World Love Jam" (Intro) 2246: 1932:Apocalypse 91... The Enemy Strikes Black 1400:sold 561,000 additional copies by 2010. 1247: 730: 539: 347:. It was released on April 10, 1990, by 232:Apocalypse 91... The Enemy Strikes Black 8345:Albums recorded at Greene St. Recording 7813:"'Radical' Rap: Of Pride and Prejudice" 7807: 7690: 7570: 7414: 6623: 6396:. No. 100. New York. January 1998. 6356: 6344: 6328:. No. 213. London. pp. 89–91. 6274: 6272: 6249: 6007: 5830: 5766:Corcoran, Michael (December 28, 1990). 5736: 5634:"Fear of a Black Planet – Public Enemy" 5501: 5328: 5326: 5324: 5259: 5197: 5012: 4953: 4951: 4949: 4947: 4945: 4753: 4679: 4670: 4648: 4519: 4502:"Fear of a Black Planet – Public Enemy" 4367: 4176: 4167: 4104: 4089: 4040: 3997: 3960: 3884: 3832: 3775:Religion and Popular Culture in America 3709: 1773: 1230:drum machine patterns, and elements of 8332: 7825: 7762: 7711: 7593: 7512: 7484: 7458: 7143: 7093: 7029: 6976: 6477: 6338: 6164: 6135:Christgau, Robert (January 16, 1990). 6130: 6128: 6119: 6088:Christgau, Robert (October 22, 1991). 6035:"Readers Make Some Surprising Choices" 5874:. McLean. p. 01.A. Archived from 5850: 5706:"Public Enemy: Fear Of A Black Planet" 5532: 5530: 5469: 5432: 5417: 5405: 5363: 5357: 5041: 4917: 4915: 4913: 4806: 4791: 4774: 4759: 4741: 4700:"Public Enemy: Fear of a Black Planet" 4558: 4525: 4373: 4331: 4203: 3991: 3933: 2925:Dave Patillo – assistant engineer 2892:The Drawing Board – art direction 2754: 2740: 2726: 2712: 2696: 2682: 2668: 2654: 2640: 2626: 2587: 2353:named it the 96th best record ever in 1764:Best Rap Performance by a Duo or Group 1340: 7864: 7612: 7561: 7536: 7361: 6651:"The 500 Greatest Albums of All Time" 6564: 6541:"The 500 Greatest Albums of All Time" 6440: 6309: 6293: 6216: 6137:"Jesus, Jews, and the Jackass Theory" 6008:Hilburn, Robert (December 23, 1990). 5856: 5794: 5700: 5689: 5657: 5592: 5315: 5247: 5232: 5215: 5203: 5175: 5169: 4856:Harrington, Robert (April 15, 1990). 4615: 4609: 4597: 4480: 4337: 4325: 4313: 4269: 4146:Concepcion, Mariel (March 13, 2010). 3893: 3845: 3738: 2952:James Staub – assistant engineer 2821:"911 Is a Joke (Instrumental)" – 3:21 2772: 2539: 2525: 2511: 2497: 2479: 2465: 2433: 2419: 2405: 1956: 1439: 1429: 388:Reflecting its confrontational tone, 29:1990 studio album by Public Enemy 8090:Fight the Power: Greatest Hits Live! 7668: 7331: 6469:"Essential Recordings of the 90's". 6362: 6321: 6269: 6250:Jenkins, Craig (November 25, 2014). 6239:. London. July 15, 1995. p. 47. 5808:. London. p. 32. Archived from 5669: 5663: 5332: 5321: 5029: 4980: 4942: 4708:. London. p. 35. Archived from 4636: 4499: 4451: 4434: 4187:. Denver. p. 39. Archived from 4083: 4071: 3867:"Public Enemy: Fight the Power Live" 3765: 2983: 2937:Nick Sansano – engineer, mixing 2889:Tom Conway – assistant engineer 1396:began tracking domestic sales data, 1259:and the lead rapper on the singles " 842:—Richard Schur, "Hip Hop Aesthetics" 8370:Race-related controversies in music 6177:Hoffberger, Chase (July 25, 2008). 6125: 5923:Christgau, Robert (March 5, 1991). 5898:"Pazz & Jop 1990: Critics Poll" 5601: 5527: 5463: 5164:Romanowski & George-Warren 2001 5138:. September 1, 2010. Archived from 4921: 4910: 4884: 4343:"The Rebels Without a Pause Return" 4177:Eustice, Kyle (February 17, 2011). 3759: 2886:Jody Clay – assistant engineer 2836:"Fight the Power (Powersax)" – 3:53 2303:the 500 greatest albums of all time 1349:was released on April 10, 1990, by 1263:" and "Can't Do Nuttin' for Ya Man" 475:the 500 greatest albums of all time 13: 7756: 7740:(10th ed.). Record Research. 6351:Alim, Ibrahim & Pennycook 2009 5925:"Pazz & Jop 1990: Dean's List" 5626: 5176:Sason, David (November 27, 2010). 5061:Christgau, Robert (July 3, 1990). 4649:Warrell, Laura K. (June 3, 2002). 4559:McLeod, Kembrew (March 31, 2010). 4376:"Public Enemy – Chuck D Interview" 4248:; DiCola, Peter (April 19, 2011). 4105:Hilburn, Robert (April 10, 1990). 3851: 3419:Hot Dance Music/Maxi-Singles Sales 3367:Netherlands (Nationale Hitparade) 3292:Netherlands (Nationale Hitparade) 3142: 2922:Branford Marsalis – saxophone 2895:Paul Eulin – engineer, mixing 2830:"War at 33⅓ (Instrumental)" – 2:07 2501:"Meet the G That Killed Me" (Skit) 1952:Retrospective professional ratings 1666:, Richard Harrington said because 1073: 14: 8391: 7842: 7624:The New Rolling Stone Album Guide 7522:. University of Minnesota Press. 6624:Cannady, Sheryl (April 5, 2005). 6441:Allen, Jamie (November 9, 2000). 5102:"Fierce 'Fear' from Public Enemy" 4775:Butler, Nick (January 16, 2005). 4374:Stacey, Ringo P. (May 20, 2008). 4041:Watrous, Peter (April 22, 1990). 3813:Blyweiss, Adam (August 5, 2013). 3556: 2964:Russell Winter – photography 2958:Ashman Walcott – photography 2871:Mike Bona – engineer, mixing 2469:"Incident at 66.6 FM" (Interlude) 2323:s "Top 100 Albums of the 1990s". 2165: 2127: 2065: 2015: 1977: 1557: 1519: 1462: 1435:Contemporary professional ratings 689:" of Public Enemy's prior album, 8168:Black Steel in the Hour of Chaos 7890: 7165: 7056: 6926:"Fight the Power – Public Enemy" 6918: 6869:"Public Enemy – Fight The Power" 6861: 6836: 6811: 6643: 6588: 6570:"100 Greatest Albums, 1985–2005" 6533: 6507: 6462: 6434: 6400: 6368: 6315: 6303: 6287: 6243: 6228: 6210: 4957: 2988: 2970:Dan Wood – engineer, mixing 2904:Robin Holland – photography 2874:Brother James I – performer 2786:2014 deluxe edition bonus tracks 2360: 2184: 2179: 2174: 2169: 2164: 2146: 2141: 2136: 2131: 2126: 2084: 2079: 2074: 2069: 2064: 2034: 2029: 2024: 2019: 2014: 1996: 1991: 1986: 1981: 1976: 1576: 1571: 1566: 1561: 1556: 1538: 1533: 1528: 1523: 1518: 1476: 1471: 1466: 1461: 1160:tracks and the guitar line from 1108:Problems playing this file? See 1089: 7765:A Brief History of Album Covers 7716:(7th ed.). Canongate U.S. 7491:Russell Simmons (Hip-Hop Stars) 7269: 6198: 6170: 6081: 6069:. January 11, 1991. p. D08 6055: 6027: 6001: 5975: 5943: 5916: 5890: 5844: 5824: 5788: 5737:Hochman, Steve (May 17, 1990). 5730: 5670:Hunt, Dennis (April 27, 1990). 5562: 5475: 5411: 5399: 5253: 5122: 4974: 4878: 4642: 4552: 3170:US Top R&B/Hip-Hop Albums ( 2961:Howie Weinberg – mastering 2940:Paul Shabazz – programming 2907:Rod Hui – engineer, mixing 2856:Agent Attitude – performer 1392:1991, when the tracking system 1191:within the black community and 929:while keeping intact hip hop's 756:. "They're figuring out how to 443:A commercial and critical hit, 8058:Nothing Is Quick in the Desert 7564:Explorations in Ethnic Studies 7466:. Vol. 6 (3rd ed.). 7277:Alim, H. Samy; Ibrahim, Awad; 7076:"911 Is a Joke – Public Enemy" 7042:"Public Enemy – 911 Is A Joke" 3908:"The Shit Storm: Public Enemy" 3806: 3779:University of California Press 3732: 3703: 3666: 3641: 3512:"Can't Do Nuttin' for Ya Man" 3476:US Hot Dance Music/Club Play ( 2967:Wizard K-Jee – scratching 2955:Terminator X – scratching 2868:The Bomb Squad – producer 2862:Jules Allen – photography 2611: 2390: 2258:(pictured) in Washington, D.C. 1946: 669:was recorded at three studios— 420:at the time. Its critiques of 1: 8161:Night of the Living Baseheads 8044:The Evil Empire of Everything 7464:Encyclopedia of Popular Music 7418:Ego Trip's Big Book of Racism 7372:Spin Alternative Record Guide 7228:British Phonographic Industry 6778:"Public Enemy Chart History ( 6596:"Top 100 Albums of the 1990s" 6379:. London. September 19, 1997. 5260:Pilgrim, David (March 2006). 4282:(Media notes). Public Enemy. 3635: 3457:"Brothers Gonna Work It Out" 2931:Professor Griff – rapper 2916:B.E. Johnson – cover art 2877:Brother Mike – performer 2672:"Can't Do Nuttin' for Ya Man" 2196:Spin Alternative Record Guide 2158:The Rolling Stone Album Guide 561:remarks in an interview with 507:, as well as endorsements of 480: 313:"Can't Do Nuttin' for Ya Man" 8256:By the Time I Get to Arizona 7571:Prahlad, Anand, ed. (2006). 7044:. Hung Medien / hitparade.ch 6989:. Hung Medien / hitparade.ch 6871:. Hung Medien / hitparade.ch 6808:. Retrieved April 15, 2021. 6790:. Retrieved April 15, 2021. 6768:. Retrieved April 15, 2021. 6716:. Retrieved April 15, 2021. 4922:Kot, Greg (April 15, 1990). 4526:McLeod, Kembrew (May 2009). 4461:. San Bruno. pp. 81–96. 3739:Cader, Michael, ed. (2002). 3710:Fonseca, Anthony J. (2019). 3648:Brian Coleman (2014-10-13). 3289:"Welcome to the Terrordome" 3133: 3115: 3101: 3086: 3074: 3062: 3050: 3038: 3012: 2865:Big Daddy Kane – rapper 2846: 2423:"Brothers Gonna Work It Out" 1382:debuted at number 40 on the 1134:1989 riots in Virginia Beach 304:"Brothers Gonna Work It Out" 7: 8224:Hell No We Ain't All Right! 7697:. Oxford University Press. 7365:(1995). "Public Enemy". In 5610:. p. 8. Archived from 3771:"Rap Music and Its Message" 2913:James Bomb – performer 2716:"B Side Wins Again" (Remix) 2336:National Recording Registry 2236:in musical history", while 1275:in his acclaimed 1989 film 1193:misogyny in hip hop culture 1085:"Welcome to the Terrordome" 458:National Recording Registry 10: 8396: 8350:Public Enemy (band) albums 7714:The Great Rock Discography 6090:"Chuck D All Over the Map" 5739:"The New Guard: Pop music" 5714:. New York. Archived from 5672:"Hammer Heads for the Top" 5602:Kot, Greg (July 8, 1990). 4981:Owen, Frank (March 1990). 4820:. New York. Archived from 4536:. New York. Archived from 4500:Erlewine, Stephen Thomas. 4351:. New York. Archived from 3906:Christgau, Robert (1989). 3533: 3522: 3514: 3499: 3487: 3475: 3467: 3459: 3444: 3432: 3416: 3402: 3394: 3382: 3374: 3366: 3347: 3335: 3319: 3311: 3299: 3291: 3285: 3269: 3251: 3236: 3224: 3204: 3201: 3198: 3191: 3123:Top R&B/Hip-Hop Albums 2919:Steve Loeb – engineer 2658:"Revolutionary Generation" 2366:All tracks are written by 2046:Christgau's Consumer Guide 1325:emergency telephone number 1046:, the album was "hardly a 1038:, Marcus Reeves said that 548:shown in concert in 1991). 316:Released: October 29, 1990 285:Released: January 26, 1990 15: 8355:Def Jam Recordings albums 8272: 8240: 8182:Welcome to the Terrordome 8124: 8099: 8074: 8002:There's a Poison Goin' On 7988:Muse Sick-n-Hour Mess Age 7951: 7898: 7566:. Vol. 15–16. NAIES. 7394:Gueraseva, Stacy (2005). 6067:The Philadelphia Inquirer 5951:"Top Ten Records of 1990" 5904:. New York. March 5, 1991 5343:The Philadelphia Inquirer 4898:. sec. 13, pp. 4–5, 24–25 3624: 3609: 3594: 3579: 3568: 3565: 3545: 3511: 3456: 3359: 3322:Hot Dance Music/Club Play 3288: 3217: 3214: 3169: 3157: 3152: 3149: 3120: 3106: 3091: 3079: 3067: 3055: 3043: 3031: 3017: 3005: 2998: 2995: 2978: 2973:Kirk Yano – engineer 2898:Flavor Flav – rapper 2621: 2618: 2615: 2610: 2485:Welcome to the Terrordome 2400: 2397: 2394: 2389: 1964: 1961: 1899:religious nationalism of 1846:was our 'nation' record, 1802:into their storytelling. 1703:of strong, scary album". 1653:The Philadelphia Inquirer 1447: 1444: 1144:the man / the shootin of 1123:Welcome to the Terrordome 979: 871:. Recordings sampled for 775:was conceived during the 633:we were shooting to make 589:Dr. Frances Cress Welsing 464:was ranked number 176 on 434:Dr. Frances Cress Welsing 324: 280:Welcome to the Terrordome 259: 248: 244: 207: 199: 187: 164: 148: 112: 77: 69: 61: 48: 39: 34: 8083:Fight the Power... Live! 6714:GfK Entertainment Charts 6413:All Time Top 1000 Albums 6375:"100 Best Albums Ever". 4812:"Fear of a Black Planet" 3675:Erlewine, Stephen Thomas 3488:US Hot R&B Singles ( 3433:US Hot R&B Singles ( 3336:US Hot R&B Singles ( 2686:"Reggie Jax" (Freestyle) 2644:"Fear of a Black Planet" 2284:All Time Top 1000 Albums 1783:Sly and the Family Stone 1741:, and fifth best by the 1066: 829: 620:Recording and production 567:, in which he said that 432:were partly inspired by 16:Not to be confused with 8360:Columbia Records albums 7594:Reeves, Marcus (2009). 7537:Myrie, Russell (2008). 7415:Jenkins, Sacha (2002). 7369:; Marks, Craig (eds.). 6904:Official Charts Company 6390:"100 Best Rap Albums". 5513:Official Charts Company 2225:Stephen Thomas Erlewine 1901:Poor Righteous Teachers 1888:The Devil Made Me Do It 1878:To the East, Blackwards 1869:South African apartheid 1255:(1991), Public Enemy's 944:There's a Riot Goin' On 917:called the music "both 855:assemblage compositions 808:AmeriKKKa's Most Wanted 298:Released: April 9, 1990 254:Fear of a Black Planet 73:June 1989–February 1990 8365:Progressive rap albums 8154:Don't Believe the Hype 8133:You're Gonna Get Yours 7974:Fear of a Black Planet 7850:Fear of a Black Planet 7763:Draper, Jason (2008). 7691:Santoro, Gene (1995). 5840:. No. 44. London. 4625:King & Selzer 2008 4280:Fear of a Black Planet 3546:* Prior to 1990, when 2910:Ice Cube – rapper 2343:Fear of a Black Planet 2332:Fear of a Black Planet 2299:Fear of a Black Planet 2259: 2252:Fear of a Black Planet 2221:Fear of a Black Planet 1860:Fear of a Black Planet 1853:Fear of a Black Planet 1848:Fear of a Black Planet 1819:Fear of a Black Planet 1804: 1756:Fear of a Black Planet 1718:Fear of a Black Planet 1668:Fear of a Black Planet 1600:Fear of a Black Planet 1405:Fear of a Black Planet 1398:Fear of a Black Planet 1380:Fear of a Black Planet 1368:Fear of a Black Planet 1347:Fear of a Black Planet 1264: 1078: 1053:Fear of a Black Planet 1040:Fear of a Black Planet 985:Fear of a Black Planet 969:Fear of a Black Planet 903:Fear of a Black Planet 873:Fear of a Black Planet 848:Fear of a Black Planet 839: 773:Fear of a Black Planet 744: 726:Fear of a Black Planet 667:Fear of a Black Planet 655: 645:Fear of a Black Planet 549: 462:Fear of a Black Planet 445:Fear of a Black Planet 410:Fear of a Black Planet 396:. Recorded during the 390:Fear of a Black Planet 359:, who expanded on the 332:Fear of a Black Planet 307:Released: June 8, 1990 272:Released: July 4, 1989 223:Fear of a Black Planet 35:Fear of a Black Planet 18:Fear of a Blank Planet 8263:Long and Whining Road 8231:Harder Than You Think 8140:Rebel Without a Pause 7960:Yo! Bum Rush the Show 7811:(December 16, 1990). 5142:on September 27, 2015 5110:. McLean. p. 1.D 3408:Hot 100 Singles Sales 2630:"Who Stole the Soul?" 2591:"Power to the People" 2529:"Anti-Nigger Machine" 2250: 1881:, the revolutionary, 1778: 1409:Yo! Bum Rush the Show 1251: 1077: 909:, especially that of 834: 777:golden age of hip hop 734: 624: 543: 398:golden age of hip hop 8303:Bring the Noise 2000 8291:360 Degrees of Power 8051:Man Plans God Laughs 7629:Simon & Schuster 7315:St. Martin's Griffin 7287:Taylor & Francis 6184:The Austin Chronicle 5550:on November 11, 2012 5369:"Do the Right Thing" 5183:Metro Silicon Valley 4817:Entertainment Weekly 3964:(February 4, 1990). 3742:People: Almanac 2003 3534:US Hot Rap Singles ( 3523:UK Singles (Gallup) 3515:New Zealand (RIANZ) 3500:US Hot Rap Singles ( 3468:UK Singles (Gallup) 3460:New Zealand (RIANZ) 3445:US Hot Rap Singles ( 3395:UK Singles (Gallup) 3375:New Zealand (RIANZ) 3348:US Hot Rap Singles ( 3312:UK Singles (Gallup) 3056:New Zealand Albums ( 2797:"Flavor Flav" – 0:16 2008:The Austin Chronicle 1941:Atlantic slave trade 1774:Legacy and influence 1758:was nominated for a 1737:, the third best by 1716:At the end of 1990, 1646:Entertainment Weekly 1488:Entertainment Weekly 1138:Crucifixion of Jesus 997:institutional racism 671:Greene St. Recording 564:The Washington Times 422:institutional racism 404:of reconfigured and 85:Greene St. Recording 8023:Rebirth of a Nation 7793:(August 25, 2002). 7652:Rolling Stone Press 7496:Infobase Publishing 7363:Dyson, Michael Eric 7279:Pennycook, Alastair 6630:Library of Congress 6602:. November 17, 2003 6495:on November 1, 2011 6312:, pp. 314–315. 5963:on November 3, 2012 5878:on November 8, 2012 5718:on October 14, 2007 5614:on November 3, 2012 5292:The Washington Post 4863:The Washington Post 4712:on October 31, 2016 4612:, pp. 151–152. 4540:on January 11, 2008 4355:on November 3, 2012 4292:cite AV media notes 3562: 3385:Schweizer Hitparade 3227:Nationale Hitparade 3082:Schweizer Hitparade 3006:Australian Albums ( 2800:"Terrorbeat" – 3:07 2607: 2545:Burn Hollywood Burn 2386: 2355:their all-time list 2328:Library of Congress 2256:Library of Congress 2254:is archived at the 1953: 1943:for lacking unity. 1865:Bush administration 1766:, presented at the 1663:The Washington Post 1436: 1341:Marketing and sales 1307:1971 interview for 1241:The Washington Post 1154:sold down the river 1025:cultural domination 875:include those from 647:I was shooting for 454:Library of Congress 377:surrounding member 22:Fear of a Black Hat 8375:Sampledelia albums 8309:East Coast hip hop 8217:Make Love Fuck War 7857:(list of releases) 7829:(April 12, 2010). 7818:The New York Times 7337:Neal, Mark Anthony 5798:(April 14, 1990). 5367:(September 1989). 5336:(April 10, 1990). 5294:. December 3, 2009 5268:on January 6, 2012 5100:(April 12, 1990). 4888:(April 15, 1990). 4824:on January 9, 2018 4810:(April 27, 1990). 4048:The New York Times 3865:(September 1989). 3561: 3046:Offizielle Top 100 2605: 2384: 2260: 1951: 1810:The New York Times 1768:33rd Grammy Awards 1683:The New York Times 1637:Nation of Millions 1434: 1430:Critical reception 1351:Def Jam Recordings 1287:The Isley Brothers 1278:Do the Right Thing 1265: 1079: 963:The New York Times 745: 550: 349:Def Jam Recordings 121:East Coast hip hop 94:The Music Palace ( 8327: 8326: 8319:Political hip hop 7800:Chicago Sun-Times 7704:978-0-19-510123-2 7683:978-0-00-731906-0 7676:. Fourth Estate. 7605:978-0-86547-997-5 7554:978-1-84767-182-0 7529:978-0-8166-5031-6 7505:978-0-7910-9467-9 7451:978-0-230-60327-1 7421:. HarperCollins. 7305:Christgau, Robert 7296:978-0-8058-6283-6 6141:The Village Voice 6094:The Village Voice 6014:Los Angeles Times 5929:The Village Voice 5902:The Village Voice 5812:on March 11, 2000 5773:Chicago Sun-Times 5743:Los Angeles Times 5676:Los Angeles Times 5068:The Village Voice 4651:"Fight the Power" 4111:Los Angeles Times 3971:Los Angeles Times 3859:Christgau, Robert 3633: 3632: 3628: 3554: 3553: 3254:Hot Black Singles 3188: 3187: 3181: 3180: 3138: 3137: 3070:Sverigetopplistan 3018:Canadian Albums ( 2782: 2781: 2601: 2600: 2217: 2216: 1844:It Takes a Nation 1743:Los Angeles Times 1722:The Village Voice 1677:The Village Voice 1610:It Takes a Nation 1605:Los Angeles Times 1597: 1596: 1588:The Village Voice 1423:Chicago Sun-Times 1394:Nielsen SoundScan 1359:It Takes a Nation 1283:It Takes a Nation 1166:Psychedelic Shack 1094: 853:s music features 643:and when we made 523:It Takes a Nation 517:black nationalism 414:African Americans 328: 327: 240: 239: 8387: 8273:Related articles 8249:Self Destruction 7885: 7878: 7871: 7862: 7861: 7838: 7822: 7804: 7786: 7751: 7727: 7708: 7687: 7665: 7650:(3rd ed.). 7642: 7627:(4th ed.). 7619:Hoard, Christian 7615:Brackett, Nathan 7609: 7590: 7567: 7558: 7533: 7509: 7481: 7455: 7432: 7411: 7390: 7358: 7328: 7300: 7264: 7263: 7261: 7259: 7245: 7239: 7238: 7236: 7234: 7220: 7214: 7213: 7211: 7209: 7195: 7189: 7188: 7186: 7184: 7169: 7163: 7162: 7160: 7158: 7147: 7141: 7140: 7138: 7136: 7122: 7113: 7112: 7110: 7108: 7097: 7091: 7090: 7088: 7086: 7072: 7066: 7060: 7054: 7053: 7051: 7049: 7038: 7027: 7026: 7024: 7022: 7008: 6999: 6998: 6996: 6994: 6983: 6974: 6973: 6971: 6969: 6958: 6941: 6940: 6938: 6936: 6922: 6916: 6915: 6913: 6911: 6896: 6881: 6880: 6878: 6876: 6865: 6859: 6858: 6856: 6854: 6840: 6834: 6833: 6831: 6829: 6815: 6809: 6797: 6791: 6775: 6769: 6759: 6753: 6747: 6741: 6735: 6729: 6723: 6717: 6707: 6701: 6695: 6689: 6683: 6677: 6676: 6674: 6672: 6647: 6641: 6640: 6638: 6636: 6621: 6612: 6611: 6609: 6607: 6592: 6586: 6585: 6583: 6581: 6562: 6556: 6555: 6553: 6552: 6537: 6531: 6530: 6528: 6526: 6511: 6505: 6504: 6502: 6500: 6481: 6475: 6474: 6466: 6460: 6459: 6457: 6455: 6438: 6432: 6431: 6416:(3rd ed.). 6404: 6398: 6397: 6387: 6381: 6380: 6372: 6366: 6360: 6354: 6348: 6342: 6336: 6330: 6329: 6319: 6313: 6307: 6301: 6291: 6285: 6284: 6276: 6267: 6266: 6264: 6262: 6247: 6241: 6240: 6232: 6226: 6225: 6214: 6208: 6202: 6196: 6195: 6193: 6191: 6174: 6168: 6162: 6153: 6152: 6150: 6148: 6132: 6123: 6117: 6106: 6105: 6103: 6101: 6085: 6079: 6078: 6076: 6074: 6059: 6053: 6052: 6050: 6048: 6031: 6025: 6024: 6022: 6020: 6005: 5999: 5998: 5996: 5994: 5979: 5973: 5972: 5970: 5968: 5956:The Boston Globe 5947: 5941: 5940: 5938: 5936: 5920: 5914: 5913: 5911: 5909: 5894: 5888: 5887: 5885: 5883: 5863: 5854: 5848: 5842: 5841: 5828: 5822: 5821: 5819: 5817: 5792: 5786: 5785: 5783: 5781: 5763: 5754: 5753: 5751: 5749: 5734: 5728: 5727: 5725: 5723: 5704:(May 17, 1990). 5698: 5687: 5686: 5684: 5682: 5667: 5661: 5655: 5649: 5648: 5646: 5644: 5630: 5624: 5623: 5621: 5619: 5599: 5590: 5589: 5587: 5585: 5580:on March 3, 2014 5570:"Top Albums/CDs" 5566: 5560: 5559: 5557: 5555: 5538:"Top Albums/CDs" 5534: 5525: 5524: 5522: 5520: 5505: 5499: 5498: 5496: 5494: 5489:. April 28, 1990 5479: 5473: 5467: 5461: 5460: 5458: 5457: 5442: 5436: 5430: 5421: 5415: 5409: 5403: 5397: 5391: 5385: 5384: 5382: 5380: 5361: 5355: 5354: 5352: 5350: 5330: 5319: 5313: 5304: 5303: 5301: 5299: 5284: 5278: 5277: 5275: 5273: 5257: 5251: 5245: 5236: 5230: 5219: 5213: 5207: 5201: 5195: 5194: 5192: 5190: 5173: 5167: 5161: 5152: 5151: 5149: 5147: 5126: 5120: 5119: 5117: 5115: 5094: 5081: 5080: 5078: 5076: 5063:"Consumer Guide" 5058: 5045: 5039: 5033: 5027: 5016: 5010: 5001: 5000: 4998: 4996: 4983:"Public Service" 4978: 4972: 4971: 4969: 4967: 4955: 4940: 4939: 4937: 4935: 4919: 4908: 4907: 4905: 4903: 4882: 4876: 4875: 4873: 4871: 4853: 4834: 4833: 4831: 4829: 4804: 4789: 4788: 4786: 4784: 4772: 4757: 4751: 4745: 4739: 4722: 4721: 4719: 4717: 4692: 4683: 4677: 4668: 4667: 4665: 4663: 4646: 4640: 4634: 4628: 4622: 4613: 4607: 4601: 4595: 4578: 4577: 4575: 4573: 4556: 4550: 4549: 4547: 4545: 4523: 4517: 4516: 4514: 4512: 4497: 4484: 4478: 4463: 4462: 4449: 4438: 4432: 4421: 4420: 4418: 4416: 4399: 4393: 4392: 4390: 4388: 4371: 4365: 4364: 4362: 4360: 4335: 4329: 4323: 4317: 4311: 4302: 4301: 4295: 4287: 4284:Columbia Records 4276: 4267: 4266: 4264: 4262: 4242: 4201: 4200: 4198: 4196: 4179:"Public Persona" 4174: 4165: 4164: 4162: 4160: 4143: 4122: 4121: 4119: 4117: 4102: 4087: 4081: 4075: 4069: 4060: 4059: 4057: 4055: 4038: 3995: 3989: 3983: 3982: 3980: 3978: 3958: 3937: 3931: 3925: 3924: 3922: 3920: 3903: 3897: 3891: 3882: 3881: 3879: 3877: 3855: 3849: 3843: 3830: 3829: 3827: 3825: 3810: 3804: 3803: 3797: 3795: 3763: 3757: 3756: 3736: 3730: 3729: 3707: 3701: 3700: 3670: 3664: 3663: 3661: 3660: 3645: 3626: 3595:United Kingdom ( 3563: 3560: 3196: 3195: 3147: 3146: 3068:Swedish Albums ( 2993: 2992: 2984: 2775: 2613: 2608: 2604: 2515:"Pollywanacraka" 2392: 2387: 2383: 2347: 2341: 2322: 2313: 2276: 2189: 2188: 2187: 2183: 2182: 2178: 2177: 2173: 2172: 2168: 2167: 2151: 2150: 2149: 2145: 2144: 2140: 2139: 2135: 2134: 2130: 2129: 2089: 2088: 2087: 2083: 2082: 2078: 2077: 2073: 2072: 2068: 2067: 2039: 2038: 2037: 2033: 2032: 2028: 2027: 2023: 2022: 2018: 2017: 2001: 2000: 1999: 1995: 1994: 1990: 1989: 1985: 1984: 1980: 1979: 1954: 1950: 1823: 1814: 1747: 1734:The Boston Globe 1726: 1672:Robert Christgau 1620: 1581: 1580: 1579: 1575: 1574: 1570: 1569: 1565: 1564: 1560: 1559: 1543: 1542: 1541: 1537: 1536: 1532: 1531: 1527: 1526: 1522: 1521: 1481: 1480: 1479: 1475: 1474: 1470: 1469: 1465: 1464: 1437: 1433: 1355:Columbia Records 1096: 1095: 1076: 1059:, as opposed to 989:African-American 860:musique concrète 852: 843: 761:with the samples 662: 527: 472: 456:added it to the 406:recontextualized 353:Columbia Records 317: 314: 308: 305: 299: 296: 286: 283: 273: 270: 209: 208: 160: 159: 155: 126:hardcore hip hop 44: 32: 31: 8395: 8394: 8390: 8389: 8388: 8386: 8385: 8384: 8330: 8329: 8328: 8323: 8268: 8236: 8175:Fight the Power 8147:Bring the Noise 8120: 8108:Greatest Misses 8095: 8070: 7947: 7918:Professor Griff 7894: 7889: 7845: 7775: 7759: 7757:Further reading 7754: 7748: 7724: 7705: 7684: 7662: 7639: 7606: 7587: 7577:Greenwood Press 7555: 7530: 7514:McLeod, Kembrew 7506: 7478: 7452: 7429: 7408: 7387: 7355: 7325: 7297: 7272: 7267: 7257: 7255: 7247: 7246: 7242: 7232: 7230: 7222: 7221: 7217: 7207: 7205: 7197: 7196: 7192: 7182: 7180: 7171: 7170: 7166: 7156: 7154: 7149: 7148: 7144: 7134: 7132: 7124: 7123: 7116: 7106: 7104: 7099: 7098: 7094: 7084: 7082: 7074: 7073: 7069: 7061: 7057: 7047: 7045: 7040: 7039: 7030: 7020: 7018: 7010: 7009: 7002: 6992: 6990: 6985: 6984: 6977: 6967: 6965: 6960: 6959: 6944: 6934: 6932: 6924: 6923: 6919: 6909: 6907: 6898: 6897: 6884: 6874: 6872: 6867: 6866: 6862: 6852: 6850: 6842: 6841: 6837: 6827: 6825: 6817: 6816: 6812: 6798: 6794: 6776: 6772: 6766:UK Albums Chart 6760: 6756: 6748: 6744: 6736: 6732: 6724: 6720: 6708: 6704: 6696: 6692: 6684: 6680: 6670: 6668: 6649: 6648: 6644: 6634: 6632: 6622: 6615: 6605: 6603: 6594: 6593: 6589: 6579: 6577: 6563: 6559: 6550: 6548: 6539: 6538: 6534: 6524: 6522: 6513: 6512: 6508: 6498: 6496: 6483: 6482: 6478: 6468: 6467: 6463: 6453: 6451: 6439: 6435: 6428: 6420:. p. 205. 6405: 6401: 6389: 6388: 6384: 6374: 6373: 6369: 6361: 6357: 6349: 6345: 6337: 6333: 6320: 6316: 6308: 6304: 6292: 6288: 6278: 6277: 6270: 6260: 6258: 6248: 6244: 6234: 6233: 6229: 6215: 6211: 6203: 6199: 6189: 6187: 6175: 6171: 6163: 6156: 6146: 6144: 6133: 6126: 6118: 6109: 6099: 6097: 6086: 6082: 6072: 6070: 6061: 6060: 6056: 6046: 6044: 6033: 6032: 6028: 6018: 6016: 6006: 6002: 5992: 5990: 5981: 5980: 5976: 5966: 5964: 5949: 5948: 5944: 5934: 5932: 5921: 5917: 5907: 5905: 5896: 5895: 5891: 5881: 5879: 5864: 5857: 5853:, p. 4357. 5849: 5845: 5829: 5825: 5815: 5813: 5793: 5789: 5779: 5777: 5764: 5757: 5747: 5745: 5735: 5731: 5721: 5719: 5699: 5690: 5680: 5678: 5668: 5664: 5656: 5652: 5642: 5640: 5632: 5631: 5627: 5617: 5615: 5608:Chicago Tribune 5600: 5593: 5583: 5581: 5568: 5567: 5563: 5553: 5551: 5536: 5535: 5528: 5518: 5516: 5507: 5506: 5502: 5492: 5490: 5483:"Billboard 200" 5481: 5480: 5476: 5472:, p. 1226. 5468: 5464: 5455: 5453: 5444: 5443: 5439: 5431: 5424: 5416: 5412: 5404: 5400: 5392: 5388: 5378: 5376: 5362: 5358: 5348: 5346: 5331: 5322: 5314: 5307: 5297: 5295: 5286: 5285: 5281: 5271: 5269: 5258: 5254: 5246: 5239: 5231: 5222: 5214: 5210: 5202: 5198: 5188: 5186: 5174: 5170: 5162: 5155: 5145: 5143: 5128: 5127: 5123: 5113: 5111: 5098:Gundersen, Edna 5095: 5084: 5074: 5072: 5059: 5048: 5040: 5036: 5028: 5019: 5011: 5004: 4994: 4992: 4979: 4975: 4965: 4963: 4956: 4943: 4933: 4931: 4930:. sec. 13, p. 5 4928:Chicago Tribune 4920: 4911: 4901: 4899: 4895:Chicago Tribune 4890:"Rap's bad rap" 4883: 4879: 4869: 4867: 4854: 4837: 4827: 4825: 4805: 4792: 4782: 4780: 4773: 4760: 4752: 4748: 4740: 4725: 4715: 4713: 4696:Reynolds, Simon 4693: 4686: 4682:, p. 1027. 4678: 4671: 4661: 4659: 4647: 4643: 4635: 4631: 4623: 4616: 4608: 4604: 4596: 4581: 4571: 4569: 4557: 4553: 4543: 4541: 4524: 4520: 4510: 4508: 4498: 4487: 4479: 4466: 4450: 4441: 4433: 4424: 4414: 4412: 4400: 4396: 4386: 4384: 4372: 4368: 4358: 4356: 4341:(May 4, 1998). 4336: 4332: 4324: 4320: 4312: 4305: 4289: 4288: 4278: 4277: 4270: 4260: 4258: 4246:McLeod, Kembrew 4243: 4204: 4194: 4192: 4191:on May 25, 2024 4175: 4168: 4158: 4156: 4144: 4125: 4115: 4113: 4103: 4090: 4082: 4078: 4070: 4063: 4053: 4051: 4039: 3998: 3990: 3986: 3976: 3974: 3962:Hilburn, Robert 3959: 3940: 3932: 3928: 3918: 3916: 3904: 3900: 3892: 3885: 3875: 3873: 3863:Dibbell, Carola 3856: 3852: 3844: 3833: 3823: 3821: 3811: 3807: 3793: 3791: 3789: 3781:. p. 263. 3764: 3760: 3753: 3737: 3733: 3726: 3718:. p. 166. 3708: 3704: 3697: 3687:All Media Guide 3671: 3667: 3658: 3656: 3646: 3642: 3638: 3610:United States ( 3573:Certified units 3559: 3272:Hot Rap Singles 3220:Fight the Power 3209: 3194: 3189: 3145: 3143:Year-end charts 3044:German Albums ( 3000: 2991: 2981: 2976: 2849: 2788: 2783: 2773: 2760:Fight the Power 2602: 2580: 2458: 2448:William Drayton 2363: 2345: 2339: 2320: 2311: 2274: 2185: 2180: 2175: 2170: 2147: 2142: 2137: 2132: 2085: 2080: 2075: 2070: 2035: 2030: 2025: 2020: 1997: 1992: 1987: 1982: 1949: 1821: 1816: 1806: 1791:Gil Scott-Heron 1776: 1745: 1724: 1706:Chicago Tribune 1618: 1577: 1572: 1567: 1562: 1539: 1534: 1529: 1524: 1477: 1472: 1467: 1455:Chicago Tribune 1432: 1364:Russell Simmons 1343: 1291:Fight the Power 1224:Fight the Power 1222:Songs such as " 1162:The Temptations 1115: 1114: 1106: 1104: 1103: 1102: 1101: 1097: 1090: 1087: 1080: 1074: 1069: 1001:White supremacy 982: 850: 845: 841: 832: 749:SMPTE timecodes 719:sampler, and a 664: 657: 636:What's Going On 622: 555:Professor Griff 525: 519:and Farrakhan. 513:Louis Farrakhan 509:Nation of Islam 483: 470: 426:white supremacy 379:Professor Griff 375:the controversy 320: 315: 312: 311: 306: 303: 302: 297: 290: 289: 284: 277: 276: 271: 267:Fight the Power 264: 263: 235: 226: 217: 183: 157: 153: 152: 136:progressive rap 108: 101:Spectrum City ( 57: 30: 25: 12: 11: 5: 8393: 8383: 8382: 8377: 8372: 8367: 8362: 8357: 8352: 8347: 8342: 8325: 8324: 8322: 8321: 8316: 8311: 8306: 8299: 8297:The Bomb Squad 8294: 8287: 8282: 8276: 8274: 8270: 8269: 8267: 8266: 8259: 8252: 8244: 8242: 8238: 8237: 8235: 8234: 8227: 8220: 8213: 8206: 8199: 8196:Can't Truss It 8192: 8185: 8178: 8171: 8164: 8157: 8150: 8143: 8136: 8128: 8126: 8122: 8121: 8119: 8118: 8111: 8103: 8101: 8097: 8096: 8094: 8093: 8086: 8078: 8076: 8072: 8071: 8069: 8068: 8061: 8054: 8047: 8040: 8033: 8026: 8019: 8016:New Whirl Odor 8012: 8009:Revolverlution 8005: 7998: 7991: 7984: 7977: 7970: 7963: 7955: 7953: 7949: 7948: 7946: 7945: 7943:Sister Souljah 7940: 7934: 7933: 7928: 7921: 7914: 7907: 7899: 7896: 7895: 7888: 7887: 7880: 7873: 7865: 7859: 7858: 7844: 7843:External links 7841: 7840: 7839: 7823: 7805: 7791:DeRogatis, Jim 7787: 7773: 7758: 7755: 7753: 7752: 7746: 7732:Whitburn, Joel 7728: 7722: 7709: 7703: 7688: 7682: 7674:Listen to This 7666: 7660: 7643: 7637: 7610: 7604: 7591: 7585: 7568: 7559: 7553: 7534: 7528: 7510: 7504: 7486:Lommel, Cookie 7482: 7476: 7462:, ed. (1998). 7456: 7450: 7433: 7427: 7412: 7406: 7391: 7385: 7367:Weisbard, Eric 7359: 7353: 7329: 7323: 7301: 7295: 7273: 7271: 7268: 7266: 7265: 7240: 7215: 7190: 7164: 7142: 7114: 7092: 7067: 7065:, p. 885. 7055: 7028: 7000: 6975: 6942: 6917: 6900:"Public Enemy" 6882: 6860: 6835: 6810: 6792: 6770: 6754: 6742: 6730: 6718: 6702: 6690: 6678: 6667:on May 6, 2016 6642: 6613: 6587: 6557: 6532: 6506: 6476: 6461: 6433: 6426: 6399: 6382: 6367: 6355: 6343: 6331: 6314: 6302: 6286: 6268: 6242: 6227: 6209: 6207:, p. 255. 6205:Christgau 2000 6197: 6169: 6154: 6124: 6107: 6080: 6054: 6026: 6000: 5974: 5942: 5915: 5889: 5855: 5843: 5832:Bradley, Lloyd 5823: 5800:"Planet Sweet" 5787: 5755: 5729: 5688: 5662: 5660:, p. 133. 5650: 5625: 5591: 5561: 5526: 5509:"Public Enemy" 5500: 5474: 5462: 5452:. 11 July 2019 5437: 5422: 5410: 5398: 5396:, p. 187. 5394:Gueraseva 2005 5386: 5356: 5320: 5318:, p. 148. 5305: 5279: 5252: 5250:, p. 123. 5237: 5235:, p. 124. 5220: 5218:, p. 122. 5208: 5196: 5168: 5166:, p. 789. 5153: 5121: 5082: 5046: 5034: 5032:, p. 478. 5017: 5015:, p. 128. 5002: 4973: 4941: 4909: 4877: 4866:. p. g.03 4835: 4790: 4779:. Sputnikmusic 4758: 4756:, p. 124. 4746: 4723: 4698:(April 1990). 4684: 4669: 4641: 4639:, p. 471. 4629: 4627:, p. 207. 4614: 4602: 4600:, p. 147. 4579: 4551: 4518: 4485: 4483:, p. 149. 4464: 4439: 4437:, p. 479. 4422: 4394: 4366: 4330: 4328:, p. 150. 4318: 4316:, p. 146. 4303: 4268: 4202: 4166: 4123: 4088: 4086:, p. 473. 4076: 4074:, p. 472. 4061: 3996: 3984: 3938: 3926: 3898: 3896:, p. 131. 3883: 3850: 3848:, p. 121. 3831: 3805: 3787: 3758: 3751: 3731: 3725:978-1440865671 3724: 3702: 3695: 3683:Backbeat Books 3665: 3639: 3637: 3634: 3631: 3630: 3622: 3621: 3618: 3615: 3607: 3606: 3603: 3600: 3592: 3591: 3588: 3585: 3577: 3576: 3570: 3567: 3558: 3557:Certifications 3555: 3552: 3551: 3543: 3542: 3539: 3532: 3528: 3527: 3524: 3520: 3519: 3516: 3513: 3509: 3508: 3505: 3497: 3496: 3493: 3485: 3484: 3481: 3473: 3472: 3469: 3465: 3464: 3461: 3458: 3454: 3453: 3450: 3442: 3441: 3438: 3430: 3429: 3426: 3414: 3413: 3410: 3400: 3399: 3396: 3392: 3391: 3388: 3380: 3379: 3376: 3372: 3371: 3368: 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2091: 2090: 2061: 2053: 2052: 2049: 2041: 2040: 2011: 2003: 2002: 1973: 1967: 1966: 1963: 1959: 1958: 1948: 1945: 1906:Holy Intellect 1897:Five Percenter 1836:George Clinton 1795:the Last Poets 1777: 1775: 1772: 1729:Pazz & Jop 1674:, writing for 1623:Edna Gundersen 1595: 1594: 1591: 1583: 1582: 1553: 1545: 1544: 1515: 1507: 1506: 1503: 1495: 1494: 1491: 1483: 1482: 1458: 1450: 1449: 1446: 1442: 1441: 1431: 1428: 1389:Top Pop Albums 1342: 1339: 1236:electro-boogie 1185:black feminism 1150:internal rhyme 1105: 1098: 1088: 1083: 1082: 1081: 1072: 1071: 1070: 1068: 1065: 1029:American media 1021:Robert Hilburn 981: 978: 935:Simon Reynolds 915:Kembrew McLeod 833: 831: 828: 795:Big Daddy Kane 787:Kembrew McLeod 741:The Bomb Squad 675:Keith Shocklee 623: 621: 618: 530:sociopolitical 505:Nelson Mandela 493:The Bomb Squad 482: 479: 418:race relations 357:The Bomb Squad 326: 325: 322: 321: 319: 318: 309: 300: 287: 274: 260: 257: 256: 246: 245: 242: 241: 238: 237: 228: 219: 205: 204: 197: 196: 194:The Bomb Squad 191: 185: 184: 182: 181: 176: 170: 168: 162: 161: 150: 146: 145: 144: 143: 138: 133: 128: 123: 116: 110: 109: 107: 106: 99: 96:West Hempstead 92: 81: 79: 75: 74: 71: 67: 66: 65:April 10, 1990 63: 59: 58: 53: 46: 45: 37: 36: 28: 9: 6: 4: 3: 2: 8392: 8381: 8378: 8376: 8373: 8371: 8368: 8366: 8363: 8361: 8358: 8356: 8353: 8351: 8348: 8346: 8343: 8341: 8338: 8337: 8335: 8320: 8317: 8315: 8312: 8310: 8307: 8305: 8304: 8300: 8298: 8295: 8293: 8292: 8288: 8286: 8283: 8281: 8278: 8277: 8275: 8271: 8264: 8260: 8257: 8253: 8250: 8246: 8245: 8243: 8239: 8232: 8228: 8225: 8221: 8218: 8214: 8211: 8207: 8204: 8203:Shut 'Em Down 8200: 8197: 8193: 8190: 8189:911 Is a Joke 8186: 8183: 8179: 8176: 8172: 8169: 8165: 8162: 8158: 8155: 8151: 8148: 8144: 8141: 8137: 8134: 8130: 8129: 8127: 8123: 8117: 8116: 8112: 8110: 8109: 8105: 8104: 8102: 8098: 8092: 8091: 8087: 8085: 8084: 8080: 8079: 8077: 8075:Live releases 8073: 8067: 8066: 8062: 8060: 8059: 8055: 8053: 8052: 8048: 8046: 8045: 8041: 8039: 8038: 8034: 8032: 8031: 8027: 8025: 8024: 8020: 8018: 8017: 8013: 8011: 8010: 8006: 8004: 8003: 7999: 7997: 7996: 7992: 7990: 7989: 7985: 7983: 7982: 7978: 7976: 7975: 7971: 7969: 7968: 7964: 7962: 7961: 7957: 7956: 7954: 7952:Studio albums 7950: 7944: 7941: 7939: 7936: 7935: 7932: 7929: 7927: 7926: 7922: 7920: 7919: 7915: 7913: 7912: 7908: 7906: 7905: 7901: 7900: 7897: 7893: 7886: 7881: 7879: 7874: 7872: 7867: 7866: 7863: 7856: 7852: 7851: 7847: 7846: 7836: 7832: 7828: 7827:Stubbs, David 7824: 7820: 7819: 7814: 7810: 7806: 7802: 7801: 7796: 7792: 7788: 7784: 7780: 7776: 7774:9781847862112 7770: 7766: 7761: 7760: 7749: 7743: 7739: 7738: 7733: 7729: 7725: 7719: 7715: 7710: 7706: 7700: 7696: 7695: 7689: 7685: 7679: 7675: 7671: 7667: 7663: 7661:0-7432-0120-5 7657: 7653: 7649: 7644: 7640: 7638:0-7432-0169-8 7634: 7630: 7626: 7625: 7620: 7616: 7611: 7607: 7601: 7598:. Macmillan. 7597: 7592: 7588: 7582: 7578: 7574: 7569: 7565: 7560: 7556: 7550: 7546: 7542: 7541: 7535: 7531: 7525: 7521: 7520: 7515: 7511: 7507: 7501: 7497: 7493: 7492: 7487: 7483: 7479: 7473: 7469: 7465: 7461: 7460:Larkin, Colin 7457: 7453: 7447: 7443: 7439: 7434: 7430: 7428:0-06-098896-7 7424: 7420: 7419: 7413: 7409: 7407:0-345-46804-X 7403: 7400:. One World. 7399: 7398: 7392: 7388: 7386:0-679-75574-8 7382: 7378: 7377:Vintage Books 7374: 7373: 7368: 7364: 7360: 7356: 7354:0-415-96919-0 7350: 7346: 7342: 7338: 7334: 7330: 7326: 7324:0-312-24560-2 7320: 7316: 7312: 7311: 7306: 7302: 7298: 7292: 7288: 7284: 7280: 7275: 7274: 7254: 7250: 7244: 7229: 7225: 7219: 7204: 7200: 7194: 7178: 7174: 7168: 7153:. Hung Medien 7152: 7146: 7131: 7127: 7121: 7119: 7103:. Hung Medien 7102: 7096: 7081: 7077: 7071: 7064: 7063:Whitburn 2003 7059: 7043: 7037: 7035: 7033: 7017: 7013: 7007: 7005: 6988: 6982: 6980: 6963: 6957: 6955: 6953: 6951: 6949: 6947: 6931: 6927: 6921: 6905: 6901: 6895: 6893: 6891: 6889: 6887: 6870: 6864: 6849: 6845: 6839: 6824: 6820: 6814: 6807: 6806: 6801: 6796: 6789: 6788: 6783: 6781: 6774: 6767: 6763: 6758: 6751: 6746: 6739: 6734: 6727: 6722: 6715: 6712:(in German). 6711: 6706: 6699: 6694: 6687: 6682: 6666: 6662: 6658: 6657: 6652: 6646: 6631: 6627: 6620: 6618: 6601: 6597: 6591: 6575: 6571: 6568:(July 2005). 6567: 6561: 6546: 6545:Rolling Stone 6542: 6536: 6520: 6519:Rolling Stone 6516: 6510: 6494: 6490: 6489:Rolling Stone 6486: 6480: 6472: 6471:Rolling Stone 6465: 6450: 6449: 6444: 6437: 6429: 6427:0-7535-0493-6 6423: 6419: 6415: 6414: 6409: 6403: 6395: 6394: 6386: 6378: 6371: 6365:, p. 60. 6364: 6359: 6353:, p. 13. 6352: 6347: 6341:, p. 68. 6340: 6335: 6327: 6326: 6318: 6311: 6306: 6299: 6295: 6290: 6282: 6275: 6273: 6257: 6253: 6246: 6238: 6231: 6223: 6222: 6213: 6206: 6201: 6186: 6185: 6180: 6173: 6167:, p. 87. 6166: 6161: 6159: 6142: 6138: 6131: 6129: 6122:, p. 86. 6121: 6116: 6114: 6112: 6095: 6091: 6084: 6068: 6064: 6058: 6042: 6041: 6036: 6030: 6015: 6011: 6004: 5988: 5984: 5978: 5962: 5958: 5957: 5952: 5946: 5930: 5926: 5919: 5903: 5899: 5893: 5877: 5873: 5869: 5862: 5860: 5852: 5847: 5839: 5838: 5833: 5827: 5811: 5807: 5806: 5801: 5797: 5791: 5775: 5774: 5769: 5762: 5760: 5744: 5740: 5733: 5717: 5713: 5712: 5711:Rolling Stone 5707: 5703: 5697: 5695: 5693: 5677: 5673: 5666: 5659: 5654: 5639: 5635: 5629: 5613: 5609: 5605: 5598: 5596: 5579: 5575: 5571: 5565: 5549: 5545: 5544: 5539: 5533: 5531: 5514: 5510: 5504: 5488: 5484: 5478: 5471: 5466: 5451: 5447: 5441: 5435:, p. 52. 5434: 5429: 5427: 5420:, p. 51. 5419: 5414: 5408:, p. 50. 5407: 5402: 5395: 5390: 5374: 5370: 5366: 5360: 5345: 5344: 5339: 5335: 5329: 5327: 5325: 5317: 5312: 5310: 5293: 5289: 5283: 5267: 5263: 5256: 5249: 5244: 5242: 5234: 5229: 5227: 5225: 5217: 5212: 5206:, p. 55. 5205: 5200: 5185: 5184: 5179: 5172: 5165: 5160: 5158: 5141: 5137: 5136: 5131: 5125: 5109: 5108: 5103: 5099: 5093: 5091: 5089: 5087: 5070: 5069: 5064: 5057: 5055: 5053: 5051: 5044:, p. 84. 5043: 5038: 5031: 5026: 5024: 5022: 5014: 5009: 5007: 4990: 4989: 4984: 4977: 4961: 4954: 4952: 4950: 4948: 4946: 4929: 4925: 4918: 4916: 4914: 4897: 4896: 4891: 4887: 4881: 4865: 4864: 4859: 4852: 4850: 4848: 4846: 4844: 4842: 4840: 4823: 4819: 4818: 4813: 4809: 4803: 4801: 4799: 4797: 4795: 4778: 4771: 4769: 4767: 4765: 4763: 4755: 4750: 4744:, p. 85. 4743: 4738: 4736: 4734: 4732: 4730: 4728: 4711: 4707: 4706: 4701: 4697: 4691: 4689: 4681: 4676: 4674: 4658: 4657: 4652: 4645: 4638: 4633: 4626: 4621: 4619: 4611: 4606: 4599: 4594: 4592: 4590: 4588: 4586: 4584: 4568: 4567: 4562: 4555: 4539: 4535: 4534: 4529: 4522: 4507: 4503: 4496: 4494: 4492: 4490: 4482: 4477: 4475: 4473: 4471: 4469: 4460: 4459: 4454: 4448: 4446: 4444: 4436: 4431: 4429: 4427: 4411: 4410: 4405: 4398: 4383: 4382: 4377: 4370: 4354: 4350: 4349: 4344: 4340: 4334: 4327: 4322: 4315: 4310: 4308: 4299: 4293: 4285: 4281: 4275: 4273: 4257: 4256: 4251: 4247: 4241: 4239: 4237: 4235: 4233: 4231: 4229: 4227: 4225: 4223: 4221: 4219: 4217: 4215: 4213: 4211: 4209: 4207: 4190: 4186: 4185: 4180: 4173: 4171: 4155: 4154: 4149: 4142: 4140: 4138: 4136: 4134: 4132: 4130: 4128: 4112: 4108: 4101: 4099: 4097: 4095: 4093: 4085: 4080: 4073: 4068: 4066: 4050: 4049: 4044: 4037: 4035: 4033: 4031: 4029: 4027: 4025: 4023: 4021: 4019: 4017: 4015: 4013: 4011: 4009: 4007: 4005: 4003: 4001: 3994:, p. 73. 3993: 3988: 3973: 3972: 3967: 3963: 3957: 3955: 3953: 3951: 3949: 3947: 3945: 3943: 3936:, p. 76. 3935: 3930: 3915: 3914: 3909: 3902: 3895: 3890: 3888: 3872: 3868: 3864: 3860: 3854: 3847: 3842: 3840: 3838: 3836: 3820: 3816: 3809: 3801: 3790: 3788:9780520932579 3784: 3780: 3776: 3772: 3768: 3767:Pinn, Anthony 3762: 3754: 3748: 3744: 3743: 3735: 3727: 3721: 3717: 3713: 3706: 3698: 3696:9780879306274 3692: 3688: 3684: 3680: 3676: 3669: 3655: 3651: 3644: 3640: 3629: 3623: 3619: 3616: 3613: 3608: 3604: 3601: 3598: 3593: 3589: 3586: 3583: 3578: 3574: 3569:Certification 3564: 3549: 3544: 3540: 3537: 3530: 3529: 3525: 3521: 3517: 3510: 3506: 3503: 3498: 3494: 3491: 3486: 3482: 3479: 3474: 3470: 3466: 3462: 3455: 3451: 3448: 3443: 3439: 3436: 3431: 3427: 3424: 3420: 3415: 3411: 3409: 3406: 3401: 3397: 3393: 3389: 3386: 3383:Switzerland ( 3381: 3377: 3373: 3369: 3363: 3362:911 Is a Joke 3358: 3354: 3351: 3346: 3342: 3339: 3334: 3330: 3327: 3323: 3318: 3314: 3310: 3306: 3303: 3300:New Zealand ( 3298: 3294: 3284: 3280: 3277: 3273: 3268: 3264: 3261: 3260: 3255: 3250: 3246: 3243: 3239: 3235: 3231: 3228: 3225:Netherlands ( 3221: 3213: 3207: 3197: 3184: 3176: 3173: 3168: 3164: 3161: 3156: 3150:Chart (1990) 3148: 3140: 3130: 3129: 3124: 3119: 3113: 3111: 3105: 3098: 3094: 3090: 3083: 3078: 3071: 3066: 3059: 3054: 3047: 3042: 3035: 3034:Album Top 100 3030: 3026: 3023: 3022: 3016: 3009: 3004: 2996:Chart (1990) 2994: 2989:Weekly charts 2986: 2985: 2972: 2969: 2966: 2963: 2960: 2957: 2954: 2951: 2948: 2945: 2942: 2939: 2936: 2933: 2930: 2927: 2924: 2921: 2918: 2915: 2912: 2909: 2906: 2903: 2900: 2897: 2894: 2891: 2888: 2885: 2882: 2879: 2876: 2873: 2870: 2867: 2864: 2861: 2858: 2855: 2854: 2852: 2841: 2838: 2835: 2832: 2829: 2826: 2823: 2820: 2817: 2814: 2811: 2808: 2805: 2802: 2799: 2796: 2793: 2790: 2789: 2777: 2774:Total length: 2771: 2767: 2764: 2761: 2757: 2753: 2749: 2746: 2743: 2739: 2735: 2732: 2729: 2725: 2721: 2718: 2715: 2711: 2707: 2705: 2704:Norman Rogers 2702: 2699: 2695: 2691: 2688: 2685: 2681: 2677: 2674: 2671: 2667: 2663: 2660: 2657: 2653: 2649: 2646: 2643: 2639: 2635: 2632: 2629: 2625: 2609: 2596: 2593: 2590: 2586: 2582: 2576: 2573: 2570: 2568: 2567:Antonio Hardy 2565: 2563: 2560: 2559: 2557: 2554: 2550: 2547:" (featuring 2546: 2542: 2538: 2534: 2531: 2528: 2524: 2520: 2517: 2514: 2510: 2506: 2503: 2500: 2496: 2492: 2489: 2486: 2482: 2478: 2474: 2471: 2468: 2464: 2460: 2454: 2451: 2449: 2446: 2445: 2443: 2440: 2439:911 Is a Joke 2436: 2432: 2428: 2425: 2422: 2418: 2414: 2411: 2408: 2404: 2388: 2382: 2381: 2377: 2373: 2369: 2361:Track listing 2358: 2356: 2352: 2344: 2337: 2333: 2329: 2326:In 2004, the 2324: 2319: 2318: 2310: 2309: 2304: 2300: 2296: 2295:Rolling Stone 2292: 2291: 2287:and named in 2286: 2285: 2280: 2273: 2272: 2267: 2266: 2257: 2253: 2249: 2245: 2243: 2239: 2235: 2231: 2226: 2222: 2212: 2210: 2209: 2205: 2204: 2200: 2198: 2197: 2193: 2192: 2162: 2160: 2159: 2155: 2154: 2124: 2122: 2121: 2117: 2116: 2112: 2110: 2109: 2105: 2104: 2100: 2098: 2097: 2093: 2092: 2062: 2060: 2059: 2055: 2054: 2050: 2048: 2047: 2043: 2042: 2012: 2010: 2009: 2005: 2004: 1974: 1972: 1969: 1968: 1960: 1957:Review scores 1955: 1944: 1942: 1938: 1934: 1933: 1928: 1923: 1920: 1916: 1912: 1908: 1907: 1902: 1898: 1894: 1890: 1889: 1884: 1883:Black Panther 1880: 1879: 1874: 1870: 1866: 1861: 1857: 1854: 1849: 1845: 1841: 1837: 1833: 1829: 1828: 1820: 1815: 1812: 1811: 1803: 1800: 1796: 1792: 1788: 1784: 1771: 1769: 1765: 1761: 1757: 1753: 1752: 1744: 1740: 1736: 1735: 1730: 1723: 1719: 1714: 1712: 1708: 1707: 1702: 1697: 1696: 1691: 1690: 1685: 1684: 1679: 1678: 1673: 1669: 1665: 1664: 1658: 1655: 1654: 1648: 1647: 1642: 1638: 1634: 1630: 1629: 1628:Rolling Stone 1624: 1617: 1616: 1611: 1607: 1606: 1601: 1592: 1590: 1589: 1585: 1584: 1554: 1552: 1551: 1550:Rolling Stone 1547: 1546: 1516: 1514: 1513: 1509: 1508: 1504: 1502: 1501: 1497: 1496: 1492: 1490: 1489: 1485: 1484: 1459: 1457: 1456: 1452: 1451: 1443: 1440:Review scores 1438: 1427: 1425: 1424: 1419: 1418:radio airplay 1414: 1410: 1406: 1401: 1399: 1395: 1390: 1387: 1386: 1381: 1377: 1375: 1374: 1369: 1365: 1360: 1356: 1352: 1348: 1338: 1336: 1331: 1326: 1322: 1318: 1317:911 Is a Joke 1313: 1311: 1310: 1304: 1303:rock and roll 1300: 1296: 1295:Elvis Presley 1292: 1288: 1284: 1280: 1279: 1274: 1270: 1262: 1261:911 Is a Joke 1258: 1254: 1250: 1246: 1243: 1242: 1237: 1233: 1229: 1228:Roland TR-808 1225: 1220: 1218: 1215: 1211: 1206: 1202: 1198: 1197:miscegenation 1194: 1190: 1186: 1181: 1179: 1175: 1171: 1167: 1163: 1159: 1155: 1151: 1147: 1143: 1139: 1135: 1131: 1130:Yusef Hawkins 1126: 1124: 1120: 1113: 1111: 1086: 1064: 1062: 1058: 1054: 1049: 1045: 1041: 1037: 1032: 1030: 1026: 1022: 1018: 1015: 1010: 1006: 1002: 998: 994: 990: 986: 977: 975: 970: 965: 964: 958: 956: 955: 954:On the Corner 950: 946: 945: 940: 936: 932: 928: 924: 923:popular music 920: 916: 912: 911:John Coltrane 908: 904: 900: 899: 895:According to 893: 890: 886: 882: 878: 874: 870: 866: 862: 861: 856: 849: 844: 838: 827: 825: 821: 817: 812: 810: 809: 804: 800: 796: 791: 788: 784: 783: 778: 774: 770: 767: 762: 760: 755: 750: 743:for the album 742: 738: 733: 729: 727: 722: 718: 714: 710: 707: 702: 700: 694: 692: 688: 687:wall of noise 684: 680: 676: 672: 668: 663: 661: 654: 652: 651: 650:Sgt. Pepper's 646: 642: 638: 637: 632: 631: 617: 615: 614: 609: 605: 601: 599: 594: 590: 586: 583:To follow up 581: 579: 573: 570: 566: 565: 560: 556: 547: 542: 538: 535: 531: 524: 520: 518: 514: 510: 506: 502: 501:Assata Shakur 498: 494: 490: 489: 478: 476: 469: 468: 467:Rolling Stone 463: 459: 455: 450: 446: 441: 439: 435: 431: 427: 423: 419: 415: 411: 407: 403: 399: 395: 391: 386: 384: 380: 376: 372: 368: 367: 362: 358: 354: 350: 346: 342: 338: 335:is the third 334: 333: 323: 310: 301: 294: 293:911 Is a Joke 288: 281: 275: 268: 262: 261: 258: 255: 251: 247: 243: 234: 233: 229: 225: 224: 220: 216: 215: 211: 210: 206: 202: 198: 195: 192: 190: 186: 180: 177: 175: 172: 171: 169: 167: 163: 151: 147: 142: 139: 137: 134: 132: 131:political rap 129: 127: 124: 122: 119: 118: 117: 115: 111: 104: 100: 97: 93: 90: 89:New York City 86: 83: 82: 80: 76: 72: 68: 64: 60: 56: 51: 47: 43: 38: 33: 27: 23: 19: 8301: 8289: 8113: 8106: 8100:Compilations 8088: 8081: 8063: 8056: 8049: 8042: 8035: 8028: 8021: 8014: 8007: 8000: 7993: 7986: 7979: 7973: 7972: 7965: 7958: 7938:Terminator X 7930: 7923: 7916: 7909: 7902: 7892:Public Enemy 7848: 7816: 7809:Pareles, Jon 7798: 7764: 7736: 7713: 7693: 7673: 7647: 7623: 7595: 7572: 7563: 7539: 7517: 7490: 7463: 7437: 7417: 7396: 7371: 7340: 7309: 7282: 7270:Bibliography 7256:. Retrieved 7243: 7231:. Retrieved 7218: 7206:. Retrieved 7203:Music Canada 7193: 7181:. Retrieved 7176: 7167: 7155:. Retrieved 7145: 7133:. Retrieved 7129: 7105:. Retrieved 7095: 7083:. Retrieved 7079: 7070: 7058: 7046:. Retrieved 7019:. Retrieved 7015: 6991:. Retrieved 6966:. Retrieved 6933:. Retrieved 6929: 6920: 6908:. Retrieved 6873:. Retrieved 6863: 6851:. Retrieved 6847: 6838: 6826:. Retrieved 6822: 6813: 6804: 6795: 6786: 6779: 6773: 6757: 6745: 6733: 6721: 6705: 6693: 6681: 6671:December 13, 6669:. Retrieved 6665:the original 6654: 6645: 6633:. Retrieved 6604:. Retrieved 6599: 6590: 6578:. Retrieved 6573: 6560: 6549:. Retrieved 6547:. 2020-09-22 6544: 6535: 6525:September 9, 6523:. Retrieved 6509: 6497:. Retrieved 6493:the original 6488: 6479: 6470: 6464: 6454:February 13, 6452:. Retrieved 6446: 6436: 6418:Virgin Books 6411: 6408:Colin Larkin 6402: 6391: 6385: 6377:The Guardian 6376: 6370: 6358: 6346: 6334: 6323: 6317: 6305: 6289: 6280: 6261:November 30, 6259:. Retrieved 6255: 6245: 6236: 6230: 6221:The Guardian 6219: 6212: 6200: 6190:December 17, 6188:. Retrieved 6182: 6172: 6145:. Retrieved 6140: 6098:. Retrieved 6093: 6083: 6071:. Retrieved 6066: 6057: 6045:. Retrieved 6038: 6029: 6017:. Retrieved 6013: 6003: 5991:. Retrieved 5986: 5977: 5965:. Retrieved 5961:the original 5954: 5945: 5933:. Retrieved 5928: 5918: 5906:. Retrieved 5901: 5892: 5880:. Retrieved 5876:the original 5871: 5846: 5835: 5826: 5814:. Retrieved 5810:the original 5803: 5796:Kelly, Danny 5790: 5778:. Retrieved 5776:. p. 11 5771: 5746:. Retrieved 5742: 5732: 5720:. Retrieved 5716:the original 5709: 5679:. Retrieved 5675: 5665: 5653: 5641:. Retrieved 5637: 5628: 5616:. Retrieved 5612:the original 5607: 5582:. Retrieved 5578:the original 5573: 5564: 5552:. Retrieved 5548:the original 5541: 5517:. Retrieved 5503: 5491:. Retrieved 5486: 5477: 5465: 5454:. Retrieved 5440: 5413: 5401: 5389: 5377:. Retrieved 5372: 5365:Leland, John 5359: 5347:. Retrieved 5341: 5296:. Retrieved 5291: 5282: 5270:. Retrieved 5266:the original 5255: 5211: 5199: 5187:. Retrieved 5181: 5171: 5144:. Retrieved 5140:the original 5133: 5124: 5112:. Retrieved 5105: 5073:. Retrieved 5066: 5037: 5013:Jenkins 2002 4993:. Retrieved 4986: 4976: 4964:. Retrieved 4958:Bush, John. 4932:. Retrieved 4927: 4900:. Retrieved 4893: 4880: 4868:. Retrieved 4861: 4826:. Retrieved 4822:the original 4815: 4808:Sandow, Greg 4781:. Retrieved 4754:Santoro 1995 4749: 4714:. Retrieved 4710:the original 4705:Melody Maker 4703: 4680:Prahlad 2006 4660:. Retrieved 4654: 4644: 4632: 4605: 4570:. Retrieved 4566:The Atlantic 4564: 4554: 4542:. Retrieved 4538:the original 4531: 4521: 4509:. Retrieved 4456: 4413:. Retrieved 4407: 4397: 4385:. Retrieved 4379: 4369: 4357:. Retrieved 4353:the original 4346: 4339:Croal, N'Gai 4333: 4321: 4279: 4259:. Retrieved 4253: 4193:. Retrieved 4189:the original 4182: 4157:. Retrieved 4151: 4114:. Retrieved 4110: 4079: 4052:. Retrieved 4046: 3987: 3975:. Retrieved 3969: 3929: 3917:. Retrieved 3911: 3901: 3874:. Retrieved 3871:Video Review 3870: 3853: 3822:. Retrieved 3818: 3808: 3800:Google Books 3798:– via 3792:. Retrieved 3774: 3761: 3740: 3734: 3711: 3705: 3678: 3668: 3657:. Retrieved 3643: 3625: 3582:Music Canada 3547: 3535: 3501: 3489: 3477: 3446: 3434: 3422: 3404: 3349: 3337: 3325: 3275: 3257: 3182: 3171: 3159: 3127: 3109: 3019: 2850: 2730:"War at 33⅓" 2365: 2350: 2342: 2331: 2325: 2315: 2306: 2298: 2294: 2288: 2282: 2279:Colin Larkin 2269: 2265:The Guardian 2263: 2261: 2251: 2237: 2220: 2218: 2206: 2194: 2156: 2118: 2106: 2094: 2058:The Guardian 2056: 2044: 2006: 1930: 1927:drug dealing 1924: 1904: 1886: 1876: 1859: 1858: 1852: 1847: 1843: 1825: 1818: 1817: 1808: 1805: 1799:Public Enemy 1779: 1760:Grammy Award 1755: 1749: 1742: 1738: 1732: 1721: 1717: 1715: 1704: 1700: 1695:Melody Maker 1693: 1687: 1681: 1675: 1667: 1661: 1659: 1651: 1644: 1636: 1626: 1613: 1609: 1603: 1599: 1598: 1586: 1548: 1510: 1498: 1486: 1453: 1421: 1412: 1408: 1404: 1402: 1397: 1383: 1379: 1378: 1371: 1367: 1358: 1346: 1344: 1314: 1308: 1282: 1276: 1266: 1239: 1221: 1209: 1205:Dick Gregory 1201:original man 1182: 1170:Instant Funk 1127: 1119:scratch cuts 1116: 1107: 1061:Euro-centric 1057:Afro-centric 1052: 1039: 1035: 1034:In his book 1033: 1016: 984: 983: 968: 961: 959: 952: 942: 902: 896: 894: 872: 858: 847: 846: 840: 835: 813: 806: 792: 780: 772: 771: 757: 746: 737:E-mu SP-1200 725: 709:drum machine 706:E-mu SP-1200 703: 695: 690: 679:Phil Spector 666: 665: 656: 648: 644: 634: 628: 625: 611: 596: 584: 582: 574: 562: 559:anti-Semitic 551: 522: 521: 486: 484: 465: 461: 444: 442: 436:'s views on 409: 389: 387: 383:anti-Semitic 364: 345:Public Enemy 339:by American 337:studio album 331: 330: 329: 253: 230: 222: 221: 212: 201:Public Enemy 55:Public Enemy 50:Studio album 26: 8340:1990 albums 8285:Harry Allen 8280:Discography 8241:Other songs 7995:He Got Game 7911:Flavor Flav 7835:The Quietus 7258:October 17, 7233:October 17, 7208:October 17, 7183:October 17, 7157:October 17, 7135:October 17, 7107:October 17, 7085:October 17, 7048:October 17, 7021:October 17, 6993:October 17, 6968:October 17, 6935:October 17, 6910:October 17, 6875:October 17, 6635:October 17, 6606:October 17, 6580:October 17, 6566:Chang, Jeff 6499:October 17, 6339:McLeod 2007 6296:, pp. 6165:Reeves 2009 6147:October 17, 6120:Reeves 2009 6100:October 17, 6073:October 17, 6047:October 17, 6019:October 17, 5993:October 17, 5967:October 17, 5935:October 17, 5908:October 17, 5882:October 17, 5851:Larkin 1998 5780:October 17, 5748:October 17, 5722:October 17, 5702:Light, Alan 5681:October 17, 5643:October 17, 5618:October 17, 5584:October 17, 5554:October 17, 5519:October 17, 5470:Strong 2004 5433:Lommel 2007 5418:Lommel 2007 5406:Lommel 2007 5379:October 17, 5349:October 17, 5298:October 17, 5272:October 17, 5189:October 17, 5146:October 17, 5114:October 17, 5075:October 17, 5042:Reeves 2009 4995:October 17, 4966:October 17, 4870:October 17, 4828:October 17, 4783:October 17, 4742:Reeves 2009 4716:October 17, 4662:October 17, 4572:October 17, 4544:October 17, 4511:October 17, 4415:October 17, 4387:October 17, 4381:The Quietus 4359:October 17, 4261:October 17, 4195:October 17, 4159:October 17, 4116:October 17, 4054:October 17, 3992:Reeves 2009 3977:October 17, 3934:Reeves 2009 3919:October 17, 3876:October 17, 2372:Eric Sadler 2234:assemblages 1947:Reappraisal 1937:malt liquor 1787:James Brown 1641:Greg Sandow 1631:magazine's 1373:House Party 1357:. Although 1253:Flavor Flav 1158:James Brown 1146:Huey Newton 1048:black power 1009:Greg Sandow 1005:power elite 993:Flavor Flav 949:Miles Davis 869:music loops 641:Marvin Gaye 460:. In 2020, 449:Afrocentric 430:power elite 141:sampledelia 8334:Categories 8210:Give It Up 7747:0898201551 7723:1841956155 7670:Ross, Alex 7586:0313330379 7477:033374134X 7333:Dery, Mark 6964:. AllMusic 6659:. London: 6551:2021-09-14 6393:The Source 6310:Dyson 1995 6294:Relic 2004 6143:. New York 6096:. New York 5931:. New York 5816:August 17, 5658:Myrie 2008 5456:2019-11-29 5450:Okayplayer 5316:Myrie 2008 5248:Myrie 2008 5233:Myrie 2008 5216:Myrie 2008 5204:NAIES 1992 5071:. New York 4962:. AllMusic 4934:August 17, 4902:August 17, 4610:Myrie 2008 4598:Myrie 2008 4533:Stay Free! 4481:Myrie 2008 4453:Dery, Mark 4326:Myrie 2008 4314:Myrie 2008 4255:PopMatters 3894:Myrie 2008 3846:Myrie 2008 3752:192904996X 3659:2019-09-09 3636:References 3620:1,000,000 3238:UK Singles 2271:The Source 1895:, and the 1840:Bob Marley 1633:Alan Light 1299:John Wayne 1232:Miami bass 1214:homophobic 1110:media help 1003:, and the 974:aesthetics 782:Stay Free! 754:Jeff Chang 685:-layered " 578:Bill Adler 481:Background 473:s list of 428:, and the 402:assemblage 203:chronology 7783:227198538 7545:Canongate 7442:Macmillan 7345:Routledge 7177:Billboard 7130:Billboard 7080:Billboard 7016:Billboard 6930:Billboard 6906:. Singles 6853:April 15, 6848:Billboard 6828:April 15, 6823:Billboard 6805:Billboard 6787:Billboard 6780:Billboard 6661:IPC Media 6600:Pitchfork 6363:Ross 2010 6256:Pitchfork 6224:. London. 6040:The State 5987:USA Today 5872:USA Today 5638:Billboard 5493:August 1, 5487:Billboard 5334:Moon, Tom 5135:Pitchfork 5107:USA Today 5030:Dery 2004 4886:Kot, Greg 4637:Dery 2004 4435:Dery 2004 4153:Billboard 4084:Dery 2004 4072:Dery 2004 3913:LA Weekly 3617:Platinum 3548:Billboard 3536:Billboard 3502:Billboard 3490:Billboard 3478:Billboard 3447:Billboard 3435:Billboard 3423:Billboard 3405:Billboard 3350:Billboard 3338:Billboard 3326:Billboard 3276:Billboard 3259:Billboard 3210:position 3172:Billboard 3160:Billboard 3153:Position 3128:Billboard 3110:Billboard 3093:UK Albums 3001:position 2847:Personnel 2619:Writer(s) 2577:Ridenhour 2398:Writer(s) 2317:Pitchfork 2297:included 2262:In 1997, 2230:Alex Ross 2108:Pitchfork 1832:Bob Dylan 1827:Billboard 1770:in 1991. 1751:The State 1739:USA Today 1727:s annual 1615:USA Today 1385:Billboard 1273:leitmotif 1269:Spike Lee 1142:Malcolm X 939:Sly Stone 824:Cey Adams 820:eclipsing 803:rap crews 721:Macintosh 717:Akai S900 598:Billboard 103:Hempstead 7734:(2003). 7672:(2010). 7621:(eds.). 7516:(2007). 7488:(2007). 7339:(eds.). 7307:(2000). 7281:(2009). 6410:(2000). 5515:. 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