Fear of a Black Planet - Knowledge (XXG)

1260: 1312:, 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 1381:, 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 552: 1339:

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

2259: 1086: 743: 5878: 1132:, 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 " 790:, 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 5614: 1431:. 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, 5886: 2255:, 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". 1249:. 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 5622: 2097: 1589: 1551: 5993: 2197: 2192: 2187: 2182: 2177: 2159: 2154: 2149: 2144: 2139: 2092: 2087: 2082: 2077: 2047: 2042: 2037: 2032: 2027: 2009: 2004: 1999: 1994: 1989: 1584: 1579: 1574: 1569: 1546: 1541: 1536: 1531: 1489: 1484: 1479: 1474: 4868: 735:

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

837:, 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". 6045: 6073: 1344:

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

5961: 796:, 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 5112: 1812:

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

1194:"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 847:

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

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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

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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

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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.

627:, 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". 547:

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

1151:: "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 563:

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

987:, 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". 779:

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".

712:'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. 1022:

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

1147:, 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 582:

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

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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

1691:, 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 53: 1791:

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.

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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.

1167:/ 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 462:

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

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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

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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".

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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

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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".

5580: 5548: 1237:", "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 1660:

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

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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

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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

613:"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 6228:

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)".

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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

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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

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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.

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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,

1920:. 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 458:

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

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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

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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,

1191:'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". 1759:

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".

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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

606:'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 1613:

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

1348:, 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". 543:

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

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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

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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

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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

8355: 5140: 1946:(1991), which featured more critical assessments of African-Americans, denouncing Black drug dealers who donned Afrocentric merchandise, hip hop artists who promoted 1206:. The title track discusses racial classification and the origins of Whites fearing African Americans, particularly racist concerns by some Whites over the effect of 1940:

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,

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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".

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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.

6503: 7977: 3977:"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" 3312: 640: 498: 376: 224: 6262: 1104: 8380: 2365: 924:, to craft a soundscape that was more challenging than that of their previous two albums, but still complemented the complex social commentary". Journalist 8075: 1256:"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". 1184: 602:'s theory of "Color Confrontation and Racism (White Supremacy)" into an album-length recording. According to Chuck D, this involved "telling people, well, 1724:

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".

6661: 4053: 2349:, which selects recordings annually that are "culturally, historically, or aesthetically significant". According to a press release for the registry, " 7263: 3622: 1742:

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

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

7991: 4260: 1942: 660: 242: 1323:. "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. 7893: 6696: 3583: 1765:

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".

1211: 874:-influenced approach reflects the political and confrontational tones of the group's lyrics, with sound collages that feature varying rhythms, 646: 428: 4571: 587:

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".

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

1259: 812:, 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 8213: 8360: 8185: 6760: 6708: 3230: 2770: 1234: 1030:

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".

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

1095: 7783: 7670: 7647: 7437: 7416: 7395: 7363: 7333: 6436: 5456: 3797: 3705: 1136:", contains snippets from a radio call-in show interview of Chuck D and alludes to the media persecution perceived by Public Enemy. 6736: 4720: 1636:

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

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

8370: 8178: 4158: 3068: 6879: 8375: 1875: 1164: 8012: 7052: 506:, exemplified a new production aesthetic in hip hop. The controversial, politically charged lyrics by the group's lead rapper 8220: 8068: 7756: 7732: 7595: 7486: 3789: 3761: 1846: 8234: 7841: 7408:

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

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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

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

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

1179:". 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 8266: 5298: 4302: 1879: 1053:"was as much a musical assault on America's racism as it was a call to blacks to effectively react to it". According to 898:, and hip hop genres. Elements such as choruses, guitar sounds, or vocals from sampled recordings are reappropriated as 723: 380:(1988). Having fulfilled their initial creative ambitions with that album, the group aspired to create what lead rapper 403:

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

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

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

1793: 1663: 1316:. The line regarding John Wayne refers to his controversial personal views, including racist remarks made in his 1133: 949: 290: 6606: 1292:, a film about racial tension in a Brooklyn neighborhood. Lee approached the group in 1988 after the release of 8295: 8290: 8093: 8005: 7680: 6724: 6423: 5806: 5375: 3056: 2294: 2244: 2240: 1176: 865: 412: 6675: 5879:"MAINSTREAM RAP; Cutting-edge sound tops pop in a year of controversy; Video's child take beat to new streets" 4934: 4900: 3264: 1623:" while "maintaining commercial and artistic credibility in the fast-changing rap world" with original music. 1304:" to a modernist perspective. The song's third verse contains disparaging lyrics about popular American icons 1230:

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

1950:, black radio stations for lacking significant airplay to hip hop, and even the Africans at the onset of the 1066:

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

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

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

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

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

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

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

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

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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,

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

813: 408: 359: 184: 131: 5820: 4548: 1882:. Black consciousness became the prevailing subject matter of many hip hop acts, exemplified by 1808:

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

1159:/ from the hand of Nig who pulled the trigger". His lyricism features dizzying rap patterns and 742: 555:

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

7136: 7086: 7022: 6936: 6190:"Public Enemy: Fear of a Black Planet, and Apocalypse 91 ... The Enemy Strikes Black (Def Jam)" 5644: 8329: 8206: 7810: 7789: 7779: 7752: 7728: 7709: 7688: 7666: 7643: 7610: 7591: 7559: 7534: 7510: 7482: 7456: 7433: 7412: 7391: 7359: 7347: 7329: 7301: 6637:"Librarian Names 50 Recordings to the 2004 Registry – The Library Today (Library of Congress)" 6453: 6432: 6308: 5994:"BEST & WORST 1990; POP: Rock 'n' roll got hammered, but its life and energy haven't died" 5783: 5379: 5078: 3981: 3826:"The Top 100 Hip-Hop Albums of the '90s: 1990-1994 - 1. Public Enemy – Fear of a Black Planet" 3793: 3757: 3752: 3730: 3701: 3080: 1687: 1615: 1598: 1433: 1404: 731: 527: 6580: 4993: 7449:

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

7315: 7183: 6335: 5966: 4419: 4294: 3869: 3664: 3248: 2218: 1744: 1682: 1365: 1128:

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

999: 693: 424: 371: 363: 189: 136: 6189: 5493: 8157: 8118: 7928: 7629: 7625: 7587: 7555: 6776: 6772: 4998: 4905: 4666: 3777: 3697: 3103: 3092: 2318: 1801: 1716: 1465: 1374: 1172: 1163:: "Lazer, anastasia, maze ya / Ways to blaze your brain and train ya ... Sad to say I got 1144: 1034:

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

1024: 1011: 565: 523: 519: 436: 423:

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

389: 385: 199: 146: 7294:

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

6910: 5519: 816:

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

548:

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

7746: 1928:

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

8307: 8026: 8019: 7953: 7524: 5553: 5108: 4832: 4706: 4349: 4256: 3972: 3873: 3693: 3237: 3031: 2577: 2563: 2390: 2386: 2378: 2252: 1916: 1903: 1805: 1697:

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

1633: 1246: 1195: 1160: 1156: 1031: 1006:, also concern contemporary black life, the state of race relations, and criticisms of 971:

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

945: 925: 805: 797: 759: 751: 685: 614: 515: 503: 367: 260: 204: 106: 52: 6263:"Public Enemy: It Takes a Nation of Millions to Hold Us Back / Fear of a Black Planet" 1278:"Fight the Power" features revolutionary rhetoric by Chuck D and was used by director 17: 8344: 8199: 7801: 7742: 7703: 7662: 7549: 7530:

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

7496: 7427: 7406: 7387: 7377: 6720: 6529: 6100: 5842: 5721: 4787: 3372: 3282: 3119: 2449: 1739: 1638: 1560: 1399: 1327: 1313: 1305: 1271: 1238: 1207: 1140: 964: 933: 921: 697: 579: 569: 511: 477: 351: 303: 141: 99: 1703:] functional. Taken with the music, they bloom with meaning." Simon Reynolds of 7948: 7902: 7837: 7805: 7500: 7213: 6428: 6418: 6231: 5847: 4715: 4661: 3810: 3592: 2714: 2289: 2275: 2130: 2068: 1770: 1705: 1522: 1215: 1180: 1071: 1067: 899: 879: 747: 719: 716: 689: 459: 404: 393: 355: 347: 211: 176: 65: 5073: 3918: 2945:

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

7607:

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

5935: 5908: 3781: 3561:

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

1102: 1047:

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

7921: 7845: 7819: 6636: 6147: 5276: 4818: 4391: 4363: 3018: 2458: 2382: 1947: 1797: 1651: 1263: 1168: 1058: 1019: 1015: 1003: 959: 769: 709: 688:, and his brother Hank Shocklee—while Chuck D called Hank, their director, "the 651: 440: 151: 124: 6403: 5712: 5460: 4543: 4265: 3877: 2281: 1925: 1850: 1643: 1317: 1309: 1242: 1224: 1129: 1120: 895: 891: 792: 588: 7793: 4415:"Classic Album: Public Enemy – It Takes A Nation Of Millions to Hold Us Back" 7355: 7343: 6671: 5117: 4463: 3923: 1921: 1842: 1625: 1283: 1279: 1152: 834: 727: 598:, the group sought to make a more thematically focused work and to condense 2826:"Burn Hollywood Burn (Extended Censored Fried to the Radio Version)" – 3:42 510:, whose braggadocio raps contained references to political figures such as 7551:

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

7234: 7260:"American album certifications – Public Enemy – Fear of a Black Planet" 7210:"Canadian album certifications – Public Enemy – Fear of a Black Planet" 5344: 4896: 4516: 4358: 4194: 3726: 2572: 2559: 1981: 1721: 1345: 1267: 1227: 1188: 1054: 941: 937: 929: 875: 809: 623: 384:

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

7235:"British album certifications – Public Enemy – Fear of a Black Planet" 1681:

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

7935: 7914: 7865: 7860: 6458: 3418: 1924:

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

1428: 1139:

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

936:

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

830: 763:

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

670: 556: 507: 381: 1330:" features Flav as the main vocalist and criticizes the inadequacy of 8324: 1883: 1210:. In the song, Chuck D argues that they should not worry because the 1199: 591:

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

396:

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

1074:, perspective, P.E. challenges listeners to step into their world." 1219:

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

621:

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

2844:"Fight the Power ("Do the Right Thing" Soundtrack Version)" – 5:23 2257: 1331: 1258: 741: 618: 550: 60: 2325:

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

1198:, an unfamiliar topic in contemporary hip hop. It also addresses 7842:"20 Years On: Remembering Public Enemy's Fear Of A Black Planet" 7478: 2755:"Final Count of the Collision Between Us and the Damned" (Outro) 917: 887: 826: 8126:

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

7875: 7871: 5615:"A+ for Chuck D. Public Enemy is a textbook for race relations" 2894:

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

825:

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

6697:"Australiancharts.com – Public Enemy – Fear of a Black Planet" 6666: 5815: 2960:

Keith Shocklee – arranger, director, producer, sequencing

2106: 1699: 1510: 544: 6721:"Offiziellecharts.de – Public Enemy – Fear of a Black Planet" 4054:"RECORDINGS; Public Enemy Makes Waves – and Compelling Music" 2957:

Hank Shocklee – arranger, director, producer, sequencing

7584:

The Greenwood Encyclopedia of African American Folklore: G-P

6496:"500 Greatest Albums: Fear of a Black Planet – Public Enemy" 5587:. Vol. 53, no. 3. December 1, 1990. Archived from 4539:"Interview with Chuck D & Hank Shocklee of Public Enemy" 2994: 1084: 8041:

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

6749:"Swedishcharts.com – Public Enemy – Fear of a Black Planet" 5275:. Jim Crow Museum at Feris State University. Archived from 4261:"Creative License: The Law and Culture of Digital Sampling" 2288:

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

998:

contains themes of organization and empowerment within the

916:

introduced a production style that "borrowed elements from

7806:"The Great Albums: Public Enemy, 'Fear of A Black Planet'" 7346:(2004). "Public Enemy: Confrontation". In Forman, Murray; 5349:"'Fear Of A Black Planet' – Concept Rap From Public Enemy" 932:

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

7657:

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

7190:. Vol. 111, no. 50. New York. December 11, 1999 6811:"Public Enemy Chart History (Top R&B/Hip-Hop Albums)" 6761:"Swisscharts.com – Public Enemy – Fear of a Black Planet" 539:

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

6709:"Dutchcharts.nl – Public Enemy – Fear of a Black Planet" 6454:"Music critic Christgau delivers new guide to consumers" 6074:"A List of Nominations For the 33d Annual Grammy Awards" 5557:. Vol. 52, no. 4. June 9, 1990. Archived from 2820:"Can't Do Nuttin' for Ya Man (U.K. 12″ Powermix)" – 4:06 1619:

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

5779:"Aragon books a potent pair: Public Enemy, Sonic Youth" 5174: 2939:

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

909:

The Greenwood Encyclopedia of African American Folklore

5299:"A note of hope from voices of experience: Correction" 4788:"Public Enemy – Fear of a Black Planet (staff review)" 3690:

All Music Guide: The Definitive Guide to Popular Music

2850:"Fight the Power (Flavor Flav Meets Spike Lee)" – 4:34 1356:

Originally intended for an October 1989 release date,

878:

or scratchy samples, media sound bites, and eccentric

4935:"'Fear of a Black Planet' touches universal concerns" 4159:"20 Years of Public Enemy's 'Fear Of A Black Planet'" 750:

drum machine and sampler, one of the devices used by

6361: 6294:. No. 108. London. September 1995. p. 132. 5845:(May 1990). "Public Enemy: Fear of a Black Planet". 3661:"The Making of Ice Cube's "AmeriKKKa's Most Wanted"" 8283: 8251: 8135: 8110: 8085: 7962: 7778:. London: Flame Tree Publishing. pp. 290–291. 7705:

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

6967: 6965: 6963: 6961: 6959: 6957: 6737:"Charts.nz – Public Enemy – Fear of a Black Planet" 6711:(in Dutch). Hung Medien. Retrieved April 15, 2021. 6484:. No. 812. New York. May 13, 1999. p. 70. 5386:. Vol. 5, no. 6. New York. pp. 68–74 4572:"How to Make a Documentary About Sampling--Legally" 2817:"Can't Do Nuttin' for Ya Man (Full Rub Mix)" – 4:44 2632: 2621: 2411: 2400: 2389:unless noted otherwise. All tracks are produced by 259: 210: 198: 175: 159: 123: 88: 80: 72: 59: 45: 2862:Credits are adapted from the album's liner notes. 2829:"Anti-Nigger Machine (Uncensored Extended)" – 1:59 2243:cited it as one of "the most densely packed sonic 496:In 1988, Public Enemy released their second album 7659:The Rolling Stone Encyclopedia of Rock & Roll 5273:"Question of the Month: Elvis Presley and Racism" 4466:(September 1990). "Public Enemy: Confrontation". 2814:"Welcome to the Terrordome (Terrormental)" – 3:38 374:-layered sound of Public Enemy's previous album, 8391:United States National Recording Registry albums 8048:Most of My Heroes Still Don't Appear on No Stamp 7447:King, Lovalerie; Selzer, Linda F., eds. (2008). 6587:. Vol. 21, no. 7. New York. p. 78 5170: 5168: 5002:. Vol. 5, no. 12. New York. p. 58 4118:"POP MUSIC REVIEW: Public Enemy Keeps Up Attack" 2853:"The Enemy Assault Vehicle Mixx (Medley)" – 9:25 2838:"Revolutionary Generation (Instrumental)" – 5:46 2711:"Leave This Off Your Fuckin' Charts" (Interlude) 868:that draw on numerous sources. The production's 758:To synchronize the samples, the Bomb Squad used 6973:"Fear of a Black Planet – Public Enemy: Awards" 5970:. December 20, 1990. p. 17. Archived from 4307:: CS1 maint: others in cite AV media (notes) ( 3638:Shipments figures based on certification alone. 2823:"Can't Do Nuttin' for Ya Man (Dub Mixx)" – 4:03 1789: 1418:exceed the sales of their previous two albums, 1223:too bad". "Meet the G That Killed Me" features 845: 635: 7321:Christgau's Consumer Guide: Albums of the '90s 6674:. October 26, 2013. p. 62. Archived from 5189:"'Fear of a Black Planet' 20 Year Anniversary" 3784:. In Forbes, Bruce; Mahan, Jeffrey H. (eds.). 2301:Christgau's Consumer Guide: Albums of the '90s 366:, and produced by the group's production team 7978:It Takes a Nation of Millions to Hold Us Back 7887: 7352:That's the Joint!: The Hip-Hop Studies Reader 7131: 7129: 7017: 7015: 6905: 6903: 6901: 6899: 6897: 5019: 5017: 4869:"Public Enemy's 'Black Planet': All the Rage" 4862: 4860: 4858: 4856: 4854: 4852: 4850: 4152: 4150: 4148: 4146: 4144: 4142: 4140: 4138: 1886:'s cultural nationalism on their debut album 702:It Takes a Nation of Millions to Hold Us Back 641:It Takes a Nation of Millions to Hold Us Back 596:It Takes a Nation of Millions to Hold Us Back 499:It Takes a Nation of Millions to Hold Us Back 377:It Takes a Nation of Millions to Hold Us Back 225:It Takes a Nation of Millions to Hold Us Back 8: 7184:"Billboard R&B Charts Get Updated Names" 7162:"Public Enemy – Can't Do Nuttin' For Ya Man" 6855:"Top R&B/Hip-Hop Albums – Year-End 1990" 5103: 5101: 5099: 5097: 5067: 5065: 5063: 5061: 5036: 5034: 5032: 4441: 4439: 4437: 4078: 4076: 2304:as among the decade's most essential works. 2174: 2136: 2074: 2024: 1986: 1566: 1528: 1471: 1424:It Takes a Nation of Million to Hold Us Back 7723:Strong, Martin Charles (October 21, 2004). 7137:"Brothers Gonna Work It Out – Public Enemy" 7112:"Public Enemy – Brothers Gonna Work It Out" 6998:"Public Enemy – Welcome To The Terror Dome" 6630: 6628: 6171: 6169: 6126: 6124: 6122: 5772: 5770: 5439: 5437: 5322: 5320: 5254: 5252: 5239: 5237: 5235: 4748: 4746: 4744: 4742: 4740: 4738: 4701: 4699: 4604: 4602: 4600: 4598: 4596: 4594: 4506: 4504: 4502: 4500: 4487: 4485: 4483: 4481: 4479: 4458: 4456: 4454: 4320: 4318: 4047: 4045: 4043: 4041: 4039: 4037: 4035: 4033: 4031: 3967: 3965: 3963: 3961: 3959: 3957: 3955: 3953: 2835:"Power to the People (Instrumental)" – 2:42 2802:"Brothers Gonna Work It Out (Remix)" – 5:51 1326:Written by Flavor Flav, Shocklee, Sadler, " 1185:I Got My Mind Made Up (You Can Get It Girl) 526:, intensified the group's affiliation with 8076:What You Gonna Do When the Grid Goes Down? 7894: 7880: 7872: 7023:"Welcome to the Terrordome – Public Enemy" 6830:"Top Billboard 200 Albums – Year-End 1990" 6021:"POP MUSIC: A Year of Confession and Rage" 4971:"Welcome to the Terrordome – Public Enemy" 4686: 4684: 4635: 4251: 4249: 4247: 4245: 4243: 4241: 4239: 4237: 4183: 4181: 4111: 4109: 4107: 4105: 4103: 4029: 4027: 4025: 4023: 4021: 4019: 4017: 4015: 4013: 4011: 3900: 3898: 3852: 3850: 3848: 3846: 3571: 3157: 3003: 1961: 1444: 715:The Bomb Squad used devices including the 51: 42: 7748:Joel Whitburn's Top Pop Singles 1955–2002 7264:Recording Industry Association of America 7047: 7045: 7043: 6992: 6990: 6773:"Public Enemy | Artist | Official Charts" 6763:. Hung Medien. Retrieved April 15, 2021. 6751:. Hung Medien. Retrieved April 15, 2021. 6739:. Hung Medien. Retrieved April 15, 2021. 6699:. Hung Medien. Retrieved April 15, 2021. 6502:. New York. November 2003. Archived from 6215: 6054:. Columbia. January 11, 1991. p. 12D 6000:. McLean. December 24, 1990. p. 04.D 5404: 5141:"The Top 200 Tracks of the 1990s: 100–51" 4813: 4811: 4809: 4807: 4805: 4781: 4779: 4777: 4775: 4773: 4235: 4233: 4231: 4229: 4227: 4225: 4223: 4221: 4219: 4217: 2912:Dave Harrington – assistant engineer 2805:"Brothers Gonna Work It Out (Dub)" – 5:10 7992:Apocalypse 91... The Enemy Strikes Black 7624:Relic, Peter (2004). "Public Enemy". In 7073: 6290:"Public Enemy: Fear of a Black Planet". 6246:"Public Enemy: Fear of a Black Planet". 5877:Jones IV, James T. (December 20, 1990). 5872: 5870: 5707: 5705: 5703: 5608: 5606: 4631: 4629: 4413:Marshall, Kingsley (December 11, 2009). 4285: 4283: 3756:. Time Home Entertainment. p. 175. 3723:Listen to Rap! Exploring a Musical Genre 3206: 2954:Christopher Shaw – engineer, mixing 2891:Chris Champion – assistant engineer 2870:Kamarra Alford – assistant engineer 2615: 2420:"Contract on the World Love Jam" (Intro) 2394: 1943:Apocalypse 91... The Enemy Strikes Black 1411:sold 561,000 additional copies by 2010. 358:. It was released on April 10, 1990, by 243:Apocalypse 91... The Enemy Strikes Black 8356:Albums recorded at Greene St. Recording 7824:"'Radical' Rap: Of Pride and Prejudice" 6407:. No. 100. New York. January 1998. 6339:. No. 213. London. pp. 89–91. 6285: 6283: 5777:Corcoran, Michael (December 28, 1990). 5645:"Fear of a Black Planet – Public Enemy" 5339: 5337: 5335: 5023: 4964: 4962: 4960: 4958: 4956: 4764: 4690: 4513:"Fear of a Black Planet – Public Enemy" 3786:Religion and Popular Culture in America 3651: 3634: 2782: 1241:drum machine patterns, and elements of 6349: 6175: 6146:Christgau, Robert (January 16, 1990). 6141: 6139: 6130: 6099:Christgau, Robert (October 22, 1991). 6046:"Readers Make Some Surprising Choices" 5885:. McLean. p. 01.A. Archived from 5861: 5717:"Public Enemy: Fear Of A Black Planet" 5543: 5541: 5480: 5443: 5428: 5416: 5052: 4928: 4926: 4924: 4752: 4711:"Public Enemy: Fear of a Black Planet" 4300: 4002: 3944: 2936:Dave Patillo – assistant engineer 2903:The Drawing Board – art direction 2364:named it the 96th best record ever in 1775:Best Rap Performance by a Duo or Group 1118: 6662:"The 500 Greatest Albums of All Time" 6552:"The 500 Greatest Albums of All Time" 6320: 6304: 6148:"Jesus, Jews, and the Jackass Theory" 6019:Hilburn, Robert (December 23, 1990). 5668: 5326: 5258: 5243: 5226: 5214: 4867:Harrington, Robert (April 15, 1990). 4620: 4608: 4491: 4336: 4324: 4157:Concepcion, Mariel (March 13, 2010). 3904: 3856: 2963:James Staub – assistant engineer 2832:"911 Is a Joke (Instrumental)" – 3:21 2783: 1967: 1450: 399:Reflecting its confrontational tone, 40:1990 studio album by Public Enemy 7: 8101:Fight the Power: Greatest Hits Live! 6480:"Essential Recordings of the 90's". 6373: 6261:Jenkins, Craig (November 25, 2014). 6250:. London. July 15, 1995. p. 47. 5819:. London. p. 32. Archived from 5040: 4719:. London. p. 35. Archived from 4647: 4445: 4198:. Denver. p. 39. Archived from 4094: 4082: 3878:"Public Enemy: Fight the Power Live" 2948:Nick Sansano – engineer, mixing 2900:Tom Conway – assistant engineer 1407:began tracking domestic sales data, 1270:and the lead rapper on the singles " 853:—Richard Schur, "Hip Hop Aesthetics" 8381:Race-related controversies in music 6188:Hoffberger, Chase (July 25, 2008). 5934:Christgau, Robert (March 5, 1991). 5909:"Pazz & Jop 1990: Critics Poll" 5175:Romanowski & George-Warren 2001 5149:. September 1, 2010. Archived from 4354:"The Rebels Without a Pause Return" 4188:Eustice, Kyle (February 17, 2011). 2897:Jody Clay – assistant engineer 2847:"Fight the Power (Powersax)" – 3:53 2314:the 500 greatest albums of all time 1360:was released on April 10, 1990, by 1274:" and "Can't Do Nuttin' for Ya Man" 486:the 500 greatest albums of all time 7751:(10th ed.). Record Research. 6362:Alim, Ibrahim & Pennycook 2009 5936:"Pazz & Jop 1990: Dean's List" 5187:Sason, David (November 27, 2010). 5072:Christgau, Robert (July 3, 1990). 4660:Warrell, Laura K. (June 3, 2002). 4570:McLeod, Kembrew (March 31, 2010). 4387:"Public Enemy – Chuck D Interview" 4259:; DiCola, Peter (April 19, 2011). 4116:Hilburn, Robert (April 10, 1990). 3430:Hot Dance Music/Maxi-Singles Sales 3378:Netherlands (Nationale Hitparade) 3303:Netherlands (Nationale Hitparade) 2933:Branford Marsalis – saxophone 2906:Paul Eulin – engineer, mixing 2841:"War at 33⅓ (Instrumental)" – 2:07 2512:"Meet the G That Killed Me" (Skit) 1963:Retrospective professional ratings 1677:, Richard Harrington said because 25: 7635:The New Rolling Stone Album Guide 7533:. University of Minnesota Press. 6635:Cannady, Sheryl (April 5, 2005). 6452:Allen, Jamie (November 9, 2000). 5113:"Fierce 'Fear' from Public Enemy" 4786:Butler, Nick (January 16, 2005). 4385:Stacey, Ringo P. (May 20, 2008). 4052:Watrous, Peter (April 22, 1990). 3824:Blyweiss, Adam (August 5, 2013). 2975:Russell Winter – photography 2969:Ashman Walcott – photography 2882:Mike Bona – engineer, mixing 2480:"Incident at 66.6 FM" (Interlude) 2334:s "Top 100 Albums of the 1990s". 2176: 2138: 2076: 2026: 1988: 1568: 1530: 1473: 1446:Contemporary professional ratings 700:" of Public Enemy's prior album, 8179:Black Steel in the Hour of Chaos 6937:"Fight the Power – Public Enemy" 6880:"Public Enemy – Fight The Power" 6581:"100 Greatest Albums, 1985–2005" 2981:Dan Wood – engineer, mixing 2915:Robin Holland – photography 2885:Brother James I – performer 2797:2014 deluxe edition bonus tracks 2195: 2190: 2185: 2180: 2175: 2157: 2152: 2147: 2142: 2137: 2095: 2090: 2085: 2080: 2075: 2045: 2040: 2035: 2030: 2025: 2007: 2002: 1997: 1992: 1987: 1587: 1582: 1577: 1572: 1567: 1549: 1544: 1539: 1534: 1529: 1487: 1482: 1477: 1472: 1171:tracks and the guitar line from 1119:Problems playing this file? See 1100: 7776:A Brief History of Album Covers 7727:(7th ed.). Canongate U.S. 7502:Russell Simmons (Hip-Hop Stars) 6080:. January 11, 1991. p. D08 5748:Hochman, Steve (May 17, 1990). 5681:Hunt, Dennis (April 27, 1990). 3181:US Top R&B/Hip-Hop Albums ( 2972:Howie Weinberg – mastering 2951:Paul Shabazz – programming 2918:Rod Hui – engineer, mixing 2867:Agent Attitude – performer 1403:1991, when the tracking system 1202:within the black community and 940:while keeping intact hip hop's 767:. "They're figuring out how to 454:A commercial and critical hit, 8069:Nothing Is Quick in the Desert 7575:Explorations in Ethnic Studies 7477:. Vol. 6 (3rd ed.). 7288:Alim, H. Samy; Ibrahim, Awad; 7087:"911 Is a Joke – Public Enemy" 7053:"Public Enemy – 911 Is A Joke" 3919:"The Shit Storm: Public Enemy" 3790:University of California Press 3523:"Can't Do Nuttin' for Ya Man" 3487:US Hot Dance Music/Club Play ( 2978:Wizard K-Jee – scratching 2966:Terminator X – scratching 2879:The Bomb Squad – producer 2873:Jules Allen – photography 2622: 2401: 2269:(pictured) in Washington, D.C. 680:was recorded at three studios— 431:at the time. Its critiques of 1: 8172:Night of the Living Baseheads 8055:The Evil Empire of Everything 7475:Encyclopedia of Popular Music 7429:Ego Trip's Big Book of Racism 7383:Spin Alternative Record Guide 7239:British Phonographic Industry 6789:"Public Enemy Chart History ( 6607:"Top 100 Albums of the 1990s" 6390:. London. September 19, 1997. 5271:Pilgrim, David (March 2006). 4293:(Media notes). Public Enemy. 3468:"Brothers Gonna Work It Out" 2942:Professor Griff – rapper 2927:B.E. Johnson – cover art 2888:Brother Mike – performer 2683:"Can't Do Nuttin' for Ya Man" 2207:Spin Alternative Record Guide 2169:The Rolling Stone Album Guide 572:remarks in an interview with 518:, as well as endorsements of 324:"Can't Do Nuttin' for Ya Man" 8267:By the Time I Get to Arizona 7582:Prahlad, Anand, ed. (2006). 7055:. Hung Medien / hitparade.ch 7000:. Hung Medien / hitparade.ch 6882:. Hung Medien / hitparade.ch 6819:. Retrieved April 15, 2021. 6801:. Retrieved April 15, 2021. 6779:. Retrieved April 15, 2021. 6727:. Retrieved April 15, 2021. 4933:Kot, Greg (April 15, 1990). 4537:McLeod, Kembrew (May 2009). 4472:. San Bruno. pp. 81–96. 3750:Cader, Michael, ed. (2002). 3721:Fonseca, Anthony J. (2019). 3659:Brian Coleman (2014-10-13). 3300:"Welcome to the Terrordome" 3144: 3126: 3112: 3097: 3085: 3073: 3061: 3049: 3023: 2876:Big Daddy Kane – rapper 2434:"Brothers Gonna Work It Out" 1393:debuted at number 40 on the 1145:1989 riots in Virginia Beach 315:"Brothers Gonna Work It Out" 8235:Hell No We Ain't All Right! 7708:. Oxford University Press. 7376:(1995). "Public Enemy". In 5621:. p. 8. Archived from 3782:"Rap Music and Its Message" 2924:James Bomb – performer 2727:"B Side Wins Again" (Remix) 2347:National Recording Registry 2247:in musical history", while 1286:in his acclaimed 1989 film 1204:misogyny in hip hop culture 1096:"Welcome to the Terrordome" 469:National Recording Registry 8407: 8361:Public Enemy (band) albums 7725:The Great Rock Discography 6101:"Chuck D All Over the Map" 5750:"The New Guard: Pop music" 5725:. New York. Archived from 5683:"Hammer Heads for the Top" 5613:Kot, Greg (July 8, 1990). 4992:Owen, Frank (March 1990). 4831:. New York. Archived from 4547:. New York. Archived from 4511:Erlewine, Stephen Thomas. 4362:. New York. Archived from 3917:Christgau, Robert (1989). 3544: 3533: 3525: 3510: 3498: 3486: 3478: 3470: 3455: 3443: 3427: 3413: 3405: 3393: 3385: 3377: 3358: 3346: 3330: 3322: 3310: 3302: 3296: 3280: 3262: 3247: 3235: 3215: 3212: 3209: 3134:Top R&B/Hip-Hop Albums 2930:Steve Loeb – engineer 2669:"Revolutionary Generation" 2377:All tracks are written by 2057:Christgau's Consumer Guide 1336:emergency telephone number 1057:, the album was "hardly a 1049:, Marcus Reeves said that 559:shown in concert in 1991). 327:Released: October 29, 1990 296:Released: January 26, 1990 26: 8366:Def Jam Recordings albums 8193:Welcome to the Terrordome 8013:There's a Poison Goin' On 7999:Muse Sick-n-Hour Mess Age 7909: 7577:. Vol. 15–16. NAIES. 7405:Gueraseva, Stacy (2005). 6078:The Philadelphia Inquirer 5962:"Top Ten Records of 1990" 5915:. New York. March 5, 1991 5354:The Philadelphia Inquirer 4909:. sec. 13, pp. 4–5, 24–25 3635: 3620: 3605: 3590: 3582: 3579: 3576: 3556: 3522: 3467: 3370: 3333:Hot Dance Music/Club Play 3299: 3228: 3225: 3180: 3168: 3163: 3160: 3131: 3117: 3102: 3090: 3078: 3066: 3054: 3042: 3028: 3016: 3009: 3006: 2984:Kirk Yano – engineer 2909:Flavor Flav – rapper 2765: 2751: 2737: 2723: 2707: 2693: 2679: 2665: 2651: 2637: 2629: 2626: 2598: 2550: 2536: 2522: 2508: 2496:Welcome to the Terrordome 2490: 2476: 2444: 2430: 2416: 2408: 2405: 1975: 1972: 1910:religious nationalism of 1857:was our 'nation' record, 1813:into their storytelling. 1714:of strong, scary album". 1664:The Philadelphia Inquirer 1458: 1455: 1155:the man / the shootin of 1134:Welcome to the Terrordome 882:. Recordings sampled for 786:was conceived during the 644:we were shooting to make 600:Dr. Frances Cress Welsing 475:was ranked number 176 on 445:Dr. Frances Cress Welsing 335: 291:Welcome to the Terrordome 270: 255: 218: 50: 8094:Fight the Power... Live! 6725:GfK Entertainment Charts 6424:All Time Top 1000 Albums 6386:"100 Best Albums Ever". 4823:"Fear of a Black Planet" 3686:Erlewine, Stephen Thomas 3499:US Hot R&B Singles ( 3444:US Hot R&B Singles ( 3347:US Hot R&B Singles ( 2697:"Reggie Jax" (Freestyle) 2655:"Fear of a Black Planet" 2295:All Time Top 1000 Albums 1794:Sly and the Family Stone 1752:, and fifth best by the 631:Recording and production 578:, in which he said that 443:were partly inspired by 27:Not to be confused with 8371:Columbia Records albums 7605:Reeves, Marcus (2009). 7548:Myrie, Russell (2008). 7426:Jenkins, Sacha (2002). 7380:; Marks, Craig (eds.). 6915:Official Charts Company 6401:"100 Best Rap Albums". 5524:Official Charts Company 2236:Stephen Thomas Erlewine 1912:Poor Righteous Teachers 1899:The Devil Made Me Do It 1889:To the East, Blackwards 1880:South African apartheid 1266:(1991), Public Enemy's 955:There's a Riot Goin' On 928:called the music "both 866:assemblage compositions 819:AmeriKKKa's Most Wanted 309:Released: April 9, 1990 265:Fear of a Black Planet 84:June 1989–February 1990 8376:Progressive rap albums 8165:Don't Believe the Hype 8144:You're Gonna Get Yours 7985:Fear of a Black Planet 7861:Fear of a Black Planet 7774:Draper, Jason (2008). 7702:Santoro, Gene (1995). 5851:. No. 44. London. 4636:King & Selzer 2008 4291:Fear of a Black Planet 3557:* Prior to 1990, when 2921:Ice Cube – rapper 2354:Fear of a Black Planet 2343:Fear of a Black Planet 2310:Fear of a Black Planet 2270: 2263:Fear of a Black Planet 2232:Fear of a Black Planet 1871:Fear of a Black Planet 1864:Fear of a Black Planet 1859:Fear of a Black Planet 1830:Fear of a Black Planet 1815: 1767:Fear of a Black Planet 1729:Fear of a Black Planet 1679:Fear of a Black Planet 1611:Fear of a Black Planet 1416:Fear of a Black Planet 1409:Fear of a Black Planet 1391:Fear of a Black Planet 1379:Fear of a Black Planet 1358:Fear of a Black Planet 1275: 1089: 1064:Fear of a Black Planet 1051:Fear of a Black Planet 996:Fear of a Black Planet 980:Fear of a Black Planet 914:Fear of a Black Planet 884:Fear of a Black Planet 859:Fear of a Black Planet 850: 784:Fear of a Black Planet 755: 737:Fear of a Black Planet 678:Fear of a Black Planet 666: 656:Fear of a Black Planet 560: 473:Fear of a Black Planet 456:Fear of a Black Planet 421:Fear of a Black Planet 407:. Recorded during the 401:Fear of a Black Planet 370:, who expanded on the 343:Fear of a Black Planet 318:Released: June 8, 1990 283:Released: July 4, 1989 234:Fear of a Black Planet 46:Fear of a Black Planet 29:Fear of a Blank Planet 18:Fear Of A Black Planet 8274:Long and Whining Road 8242:Harder Than You Think 8151:Rebel Without a Pause 7971:Yo! Bum Rush the Show 7822:(December 16, 1990). 5153:on September 27, 2015 5121:. McLean. p. 1.D 3419:Hot 100 Singles Sales 2641:"Who Stole the Soul?" 2602:"Power to the People" 2540:"Anti-Nigger Machine" 2261: 1892:, the revolutionary, 1420:Yo! Bum Rush the Show 1262: 1088: 920:, especially that of 788:golden age of hip hop 745: 554: 409:golden age of hip hop 8314:Bring the Noise 2000 8302:360 Degrees of Power 8062:Man Plans God Laughs 7640:Simon & Schuster 7326:St. Martin's Griffin 7298:Taylor & Francis 6195:The Austin Chronicle 5561:on November 11, 2012 5380:"Do the Right Thing" 5194:Metro Silicon Valley 4828:Entertainment Weekly 3975:(February 4, 1990). 3753:People: Almanac 2003 3545:US Hot Rap Singles ( 3534:UK Singles (Gallup) 3526:New Zealand (RIANZ) 3511:US Hot Rap Singles ( 3479:UK Singles (Gallup) 3471:New Zealand (RIANZ) 3456:US Hot Rap Singles ( 3406:UK Singles (Gallup) 3386:New Zealand (RIANZ) 3359:US Hot Rap Singles ( 3323:UK Singles (Gallup) 3067:New Zealand Albums ( 2808:"Flavor Flav" – 0:16 2019:The Austin Chronicle 1952:Atlantic slave trade 1785:Legacy and influence 1769:was nominated for a 1748:, the third best by 1727:At the end of 1990, 1657:Entertainment Weekly 1499:Entertainment Weekly 1149:Crucifixion of Jesus 1008:institutional racism 682:Greene St. Recording 575:The Washington Times 433:institutional racism 415:of reconfigured and 96:Greene St. Recording 8034:Rebirth of a Nation 7804:(August 25, 2002). 7663:Rolling Stone Press 7507:Infobase Publishing 7374:Dyson, Michael Eric 7290:Pennycook, Alastair 6641:Library of Congress 6613:. November 17, 2003 6506:on November 1, 2011 6323:, pp. 314–315. 5974:on November 3, 2012 5889:on November 8, 2012 5729:on October 14, 2007 5625:on November 3, 2012 5303:The Washington Post 4874:The Washington Post 4723:on October 31, 2016 4623:, pp. 151–152. 4551:on January 11, 2008 4366:on November 3, 2012 4303:cite AV media notes 3573: 3396:Schweizer Hitparade 3238:Nationale Hitparade 3093:Schweizer Hitparade 3017:Australian Albums ( 2811:"Terrorbeat" – 3:07 2618: 2556:Burn Hollywood Burn 2397: 2366:their all-time list 2339:Library of Congress 2267:Library of Congress 2265:is archived at the 1964: 1954:for lacking unity. 1876:Bush administration 1777:, presented at the 1674:The Washington Post 1447: 1352:Marketing and sales 1318:1971 interview for 1252:The Washington Post 1165:sold down the river 1036:cultural domination 886:include those from 658:I was shooting for 465:Library of Congress 388:surrounding member 33:Fear of a Black Hat 8386:Sampledelia albums 8320:East Coast hip hop 8228:Make Love Fuck War 7868:(list of releases) 7840:(April 12, 2010). 7829:The New York Times 7348:Neal, Mark Anthony 5809:(April 14, 1990). 5378:(September 1989). 5347:(April 10, 1990). 5305:. December 3, 2009 5279:on January 6, 2012 5111:(April 12, 1990). 4899:(April 15, 1990). 4835:on January 9, 2018 4821:(April 27, 1990). 4059:The New York Times 3876:(September 1989). 3572: 3057:Offizielle Top 100 2616: 2395: 2271: 1962: 1821:The New York Times 1779:33rd Grammy Awards 1694:The New York Times 1648:Nation of Millions 1445: 1441:Critical reception 1362:Def Jam Recordings 1298:The Isley Brothers 1289:Do the Right Thing 1276: 1090: 974:The New York Times 756: 561: 360:Def Jam Recordings 132:East Coast hip hop 105:The Music Palace ( 8338: 8337: 8330:Political hip hop 7811:Chicago Sun-Times 7715:978-0-19-510123-2 7694:978-0-00-731906-0 7687:. Fourth Estate. 7616:978-0-86547-997-5 7565:978-1-84767-182-0 7540:978-0-8166-5031-6 7516:978-0-7910-9467-9 7462:978-0-230-60327-1 7432:. HarperCollins. 7316:Christgau, Robert 7307:978-0-8058-6283-6 6152:The Village Voice 6105:The Village Voice 6025:Los Angeles Times 5940:The Village Voice 5913:The Village Voice 5823:on March 11, 2000 5784:Chicago Sun-Times 5754:Los Angeles Times 5687:Los Angeles Times 5079:The Village Voice 4662:"Fight the Power" 4122:Los Angeles Times 3982:Los Angeles Times 3870:Christgau, Robert 3644: 3643: 3639: 3565: 3564: 3265:Hot Black Singles 3199: 3198: 3192: 3191: 3149: 3148: 3081:Sverigetopplistan 3029:Canadian Albums ( 2793: 2792: 2612: 2611: 2228: 2227: 1855:It Takes a Nation 1754:Los Angeles Times 1733:The Village Voice 1688:The Village Voice 1621:It Takes a Nation 1616:Los Angeles Times 1608: 1607: 1599:The Village Voice 1434:Chicago Sun-Times 1405:Nielsen SoundScan 1370:It Takes a Nation 1294:It Takes a Nation 1177:Psychedelic Shack 1105: 864:s music features 654:and when we made 534:It Takes a Nation 528:black nationalism 425:African Americans 339: 338: 251: 250: 16:(Redirected from 8398: 8284:Related articles 8260:Self Destruction 7896: 7889: 7882: 7873: 7849: 7833: 7815: 7797: 7762: 7738: 7719: 7698: 7676: 7661:(3rd ed.). 7653: 7638:(4th ed.). 7630:Hoard, Christian 7626:Brackett, Nathan 7620: 7601: 7578: 7569: 7544: 7520: 7492: 7466: 7443: 7422: 7401: 7369: 7339: 7311: 7275: 7274: 7272: 7270: 7256: 7250: 7249: 7247: 7245: 7231: 7225: 7224: 7222: 7220: 7206: 7200: 7199: 7197: 7195: 7180: 7174: 7173: 7171: 7169: 7158: 7152: 7151: 7149: 7147: 7133: 7124: 7123: 7121: 7119: 7108: 7102: 7101: 7099: 7097: 7083: 7077: 7071: 7065: 7064: 7062: 7060: 7049: 7038: 7037: 7035: 7033: 7019: 7010: 7009: 7007: 7005: 6994: 6985: 6984: 6982: 6980: 6969: 6952: 6951: 6949: 6947: 6933: 6927: 6926: 6924: 6922: 6907: 6892: 6891: 6889: 6887: 6876: 6870: 6869: 6867: 6865: 6851: 6845: 6844: 6842: 6840: 6826: 6820: 6808: 6802: 6786: 6780: 6770: 6764: 6758: 6752: 6746: 6740: 6734: 6728: 6718: 6712: 6706: 6700: 6694: 6688: 6687: 6685: 6683: 6658: 6652: 6651: 6649: 6647: 6632: 6623: 6622: 6620: 6618: 6603: 6597: 6596: 6594: 6592: 6573: 6567: 6566: 6564: 6563: 6548: 6542: 6541: 6539: 6537: 6522: 6516: 6515: 6513: 6511: 6492: 6486: 6485: 6477: 6471: 6470: 6468: 6466: 6449: 6443: 6442: 6427:(3rd ed.). 6415: 6409: 6408: 6398: 6392: 6391: 6383: 6377: 6371: 6365: 6359: 6353: 6347: 6341: 6340: 6330: 6324: 6318: 6312: 6302: 6296: 6295: 6287: 6278: 6277: 6275: 6273: 6258: 6252: 6251: 6243: 6237: 6236: 6225: 6219: 6213: 6207: 6206: 6204: 6202: 6185: 6179: 6173: 6164: 6163: 6161: 6159: 6143: 6134: 6128: 6117: 6116: 6114: 6112: 6096: 6090: 6089: 6087: 6085: 6070: 6064: 6063: 6061: 6059: 6042: 6036: 6035: 6033: 6031: 6016: 6010: 6009: 6007: 6005: 5990: 5984: 5983: 5981: 5979: 5967:The Boston Globe 5958: 5952: 5951: 5949: 5947: 5931: 5925: 5924: 5922: 5920: 5905: 5899: 5898: 5896: 5894: 5874: 5865: 5859: 5853: 5852: 5839: 5833: 5832: 5830: 5828: 5803: 5797: 5796: 5794: 5792: 5774: 5765: 5764: 5762: 5760: 5745: 5739: 5738: 5736: 5734: 5715:(May 17, 1990). 5709: 5698: 5697: 5695: 5693: 5678: 5672: 5666: 5660: 5659: 5657: 5655: 5641: 5635: 5634: 5632: 5630: 5610: 5601: 5600: 5598: 5596: 5591:on March 3, 2014 5581:"Top Albums/CDs" 5577: 5571: 5570: 5568: 5566: 5549:"Top Albums/CDs" 5545: 5536: 5535: 5533: 5531: 5516: 5510: 5509: 5507: 5505: 5500:. April 28, 1990 5490: 5484: 5478: 5472: 5471: 5469: 5468: 5453: 5447: 5441: 5432: 5426: 5420: 5414: 5408: 5402: 5396: 5395: 5393: 5391: 5372: 5366: 5365: 5363: 5361: 5341: 5330: 5324: 5315: 5314: 5312: 5310: 5295: 5289: 5288: 5286: 5284: 5268: 5262: 5256: 5247: 5241: 5230: 5224: 5218: 5212: 5206: 5205: 5203: 5201: 5184: 5178: 5172: 5163: 5162: 5160: 5158: 5137: 5131: 5130: 5128: 5126: 5105: 5092: 5091: 5089: 5087: 5074:"Consumer Guide" 5069: 5056: 5050: 5044: 5038: 5027: 5021: 5012: 5011: 5009: 5007: 4994:"Public Service" 4989: 4983: 4982: 4980: 4978: 4966: 4951: 4950: 4948: 4946: 4930: 4919: 4918: 4916: 4914: 4893: 4887: 4886: 4884: 4882: 4864: 4845: 4844: 4842: 4840: 4815: 4800: 4799: 4797: 4795: 4783: 4768: 4762: 4756: 4750: 4733: 4732: 4730: 4728: 4703: 4694: 4688: 4679: 4678: 4676: 4674: 4657: 4651: 4645: 4639: 4633: 4624: 4618: 4612: 4606: 4589: 4588: 4586: 4584: 4567: 4561: 4560: 4558: 4556: 4534: 4528: 4527: 4525: 4523: 4508: 4495: 4489: 4474: 4473: 4460: 4449: 4443: 4432: 4431: 4429: 4427: 4410: 4404: 4403: 4401: 4399: 4382: 4376: 4375: 4373: 4371: 4346: 4340: 4334: 4328: 4322: 4313: 4312: 4306: 4298: 4295:Columbia Records 4287: 4278: 4277: 4275: 4273: 4253: 4212: 4211: 4209: 4207: 4190:"Public Persona" 4185: 4176: 4175: 4173: 4171: 4154: 4133: 4132: 4130: 4128: 4113: 4098: 4092: 4086: 4080: 4071: 4070: 4068: 4066: 4049: 4006: 4000: 3994: 3993: 3991: 3989: 3969: 3948: 3942: 3936: 3935: 3933: 3931: 3914: 3908: 3902: 3893: 3892: 3890: 3888: 3866: 3860: 3854: 3841: 3840: 3838: 3836: 3821: 3815: 3814: 3808: 3806: 3774: 3768: 3767: 3747: 3741: 3740: 3718: 3712: 3711: 3681: 3675: 3674: 3672: 3671: 3656: 3637: 3606:United Kingdom ( 3574: 3207: 3158: 3079:Swedish Albums ( 3004: 2995: 2786: 2624: 2619: 2526:"Pollywanacraka" 2403: 2398: 2358: 2352: 2333: 2324: 2287: 2200: 2199: 2198: 2194: 2193: 2189: 2188: 2184: 2183: 2179: 2178: 2162: 2161: 2160: 2156: 2155: 2151: 2150: 2146: 2145: 2141: 2140: 2100: 2099: 2098: 2094: 2093: 2089: 2088: 2084: 2083: 2079: 2078: 2050: 2049: 2048: 2044: 2043: 2039: 2038: 2034: 2033: 2029: 2028: 2012: 2011: 2010: 2006: 2005: 2001: 2000: 1996: 1995: 1991: 1990: 1965: 1834: 1825: 1758: 1745:The Boston Globe 1737: 1683:Robert Christgau 1631: 1592: 1591: 1590: 1586: 1585: 1581: 1580: 1576: 1575: 1571: 1570: 1554: 1553: 1552: 1548: 1547: 1543: 1542: 1538: 1537: 1533: 1532: 1492: 1491: 1490: 1486: 1485: 1481: 1480: 1476: 1475: 1448: 1366:Columbia Records 1107: 1106: 1087: 1070:, as opposed to 1000:African-American 871:musique concrète 863: 854: 772:with the samples 673: 538: 483: 467:added it to the 417:recontextualized 364:Columbia Records 328: 325: 319: 316: 310: 307: 297: 294: 284: 281: 220: 219: 171: 170: 166: 137:hardcore hip hop 55: 43: 21: 8406: 8405: 8401: 8400: 8399: 8397: 8396: 8395: 8341: 8340: 8339: 8334: 8279: 8247: 8186:Fight the Power 8158:Bring the Noise 8131: 8119:Greatest Misses 8106: 8081: 7958: 7929:Professor Griff 7905: 7900: 7856: 7836: 7818: 7800: 7786: 7773: 7770: 7768:Further reading 7765: 7759: 7741: 7735: 7722: 7716: 7701: 7695: 7679: 7673: 7656: 7650: 7623: 7617: 7604: 7598: 7588:Greenwood Press 7581: 7572: 7566: 7547: 7541: 7525:McLeod, Kembrew 7523: 7517: 7495: 7489: 7469: 7463: 7446: 7440: 7425: 7419: 7404: 7398: 7372: 7366: 7342: 7336: 7314: 7308: 7287: 7283: 7278: 7268: 7266: 7258: 7257: 7253: 7243: 7241: 7233: 7232: 7228: 7218: 7216: 7208: 7207: 7203: 7193: 7191: 7182: 7181: 7177: 7167: 7165: 7160: 7159: 7155: 7145: 7143: 7135: 7134: 7127: 7117: 7115: 7110: 7109: 7105: 7095: 7093: 7085: 7084: 7080: 7072: 7068: 7058: 7056: 7051: 7050: 7041: 7031: 7029: 7021: 7020: 7013: 7003: 7001: 6996: 6995: 6988: 6978: 6976: 6971: 6970: 6955: 6945: 6943: 6935: 6934: 6930: 6920: 6918: 6909: 6908: 6895: 6885: 6883: 6878: 6877: 6873: 6863: 6861: 6853: 6852: 6848: 6838: 6836: 6828: 6827: 6823: 6809: 6805: 6787: 6783: 6777:UK Albums Chart 6771: 6767: 6759: 6755: 6747: 6743: 6735: 6731: 6719: 6715: 6707: 6703: 6695: 6691: 6681: 6679: 6660: 6659: 6655: 6645: 6643: 6634: 6633: 6626: 6616: 6614: 6605: 6604: 6600: 6590: 6588: 6575: 6574: 6570: 6561: 6559: 6550: 6549: 6545: 6535: 6533: 6524: 6523: 6519: 6509: 6507: 6494: 6493: 6489: 6479: 6478: 6474: 6464: 6462: 6451: 6450: 6446: 6439: 6431:. p. 205. 6417: 6416: 6412: 6400: 6399: 6395: 6385: 6384: 6380: 6372: 6368: 6360: 6356: 6348: 6344: 6332: 6331: 6327: 6319: 6315: 6303: 6299: 6289: 6288: 6281: 6271: 6269: 6260: 6259: 6255: 6245: 6244: 6240: 6227: 6226: 6222: 6214: 6210: 6200: 6198: 6187: 6186: 6182: 6174: 6167: 6157: 6155: 6145: 6144: 6137: 6129: 6120: 6110: 6108: 6098: 6097: 6093: 6083: 6081: 6072: 6071: 6067: 6057: 6055: 6044: 6043: 6039: 6029: 6027: 6018: 6017: 6013: 6003: 6001: 5992: 5991: 5987: 5977: 5975: 5960: 5959: 5955: 5945: 5943: 5933: 5932: 5928: 5918: 5916: 5907: 5906: 5902: 5892: 5890: 5876: 5875: 5868: 5864:, p. 4357. 5860: 5856: 5841: 5840: 5836: 5826: 5824: 5805: 5804: 5800: 5790: 5788: 5776: 5775: 5768: 5758: 5756: 5747: 5746: 5742: 5732: 5730: 5711: 5710: 5701: 5691: 5689: 5680: 5679: 5675: 5667: 5663: 5653: 5651: 5643: 5642: 5638: 5628: 5626: 5619:Chicago Tribune 5612: 5611: 5604: 5594: 5592: 5579: 5578: 5574: 5564: 5562: 5547: 5546: 5539: 5529: 5527: 5518: 5517: 5513: 5503: 5501: 5494:"Billboard 200" 5492: 5491: 5487: 5483:, p. 1226. 5479: 5475: 5466: 5464: 5455: 5454: 5450: 5442: 5435: 5427: 5423: 5415: 5411: 5403: 5399: 5389: 5387: 5374: 5373: 5369: 5359: 5357: 5343: 5342: 5333: 5325: 5318: 5308: 5306: 5297: 5296: 5292: 5282: 5280: 5270: 5269: 5265: 5257: 5250: 5242: 5233: 5225: 5221: 5213: 5209: 5199: 5197: 5186: 5185: 5181: 5173: 5166: 5156: 5154: 5139: 5138: 5134: 5124: 5122: 5109:Gundersen, Edna 5107: 5106: 5095: 5085: 5083: 5071: 5070: 5059: 5051: 5047: 5039: 5030: 5022: 5015: 5005: 5003: 4991: 4990: 4986: 4976: 4974: 4968: 4967: 4954: 4944: 4942: 4941:. sec. 13, p. 5 4939:Chicago Tribune 4932: 4931: 4922: 4912: 4910: 4906:Chicago Tribune 4901:"Rap's bad rap" 4895: 4894: 4890: 4880: 4878: 4866: 4865: 4848: 4838: 4836: 4817: 4816: 4803: 4793: 4791: 4785: 4784: 4771: 4763: 4759: 4751: 4736: 4726: 4724: 4707:Reynolds, Simon 4705: 4704: 4697: 4693:, p. 1027. 4689: 4682: 4672: 4670: 4659: 4658: 4654: 4646: 4642: 4634: 4627: 4619: 4615: 4607: 4592: 4582: 4580: 4569: 4568: 4564: 4554: 4552: 4536: 4535: 4531: 4521: 4519: 4510: 4509: 4498: 4490: 4477: 4462: 4461: 4452: 4444: 4435: 4425: 4423: 4412: 4411: 4407: 4397: 4395: 4384: 4383: 4379: 4369: 4367: 4352:(May 4, 1998). 4348: 4347: 4343: 4335: 4331: 4323: 4316: 4299: 4289: 4288: 4281: 4271: 4269: 4257:McLeod, Kembrew 4255: 4254: 4215: 4205: 4203: 4202:on May 25, 2024 4187: 4186: 4179: 4169: 4167: 4156: 4155: 4136: 4126: 4124: 4115: 4114: 4101: 4093: 4089: 4081: 4074: 4064: 4062: 4051: 4050: 4009: 4001: 3997: 3987: 3985: 3973:Hilburn, Robert 3971: 3970: 3951: 3943: 3939: 3929: 3927: 3916: 3915: 3911: 3903: 3896: 3886: 3884: 3874:Dibbell, Carola 3868: 3867: 3863: 3855: 3844: 3834: 3832: 3823: 3822: 3818: 3804: 3802: 3800: 3792:. p. 263. 3776: 3775: 3771: 3764: 3749: 3748: 3744: 3737: 3729:. p. 166. 3720: 3719: 3715: 3708: 3698:All Media Guide 3683: 3682: 3678: 3669: 3667: 3658: 3657: 3653: 3649: 3621:United States ( 3584:Certified units 3570: 3283:Hot Rap Singles 3231:Fight the Power 3220: 3205: 3200: 3156: 3154:Year-end charts 3055:German Albums ( 3011: 3002: 2992: 2987: 2860: 2799: 2794: 2784: 2771:Fight the Power 2613: 2591: 2469: 2459:William Drayton 2374: 2356: 2350: 2331: 2322: 2285: 2196: 2191: 2186: 2181: 2158: 2153: 2148: 2143: 2096: 2091: 2086: 2081: 2046: 2041: 2036: 2031: 2008: 2003: 1998: 1993: 1960: 1832: 1827: 1817: 1802:Gil Scott-Heron 1787: 1756: 1735: 1717:Chicago Tribune 1629: 1588: 1583: 1578: 1573: 1550: 1545: 1540: 1535: 1488: 1483: 1478: 1466:Chicago Tribune 1443: 1375:Russell Simmons 1354: 1302:Fight the Power 1235:Fight the Power 1233:Songs such as " 1173:The Temptations 1126: 1125: 1117: 1115: 1114: 1113: 1112: 1108: 1101: 1098: 1091: 1085: 1080: 1012:White supremacy 993: 861: 856: 852: 843: 760:SMPTE timecodes 730:sampler, and a 675: 668: 647:What's Going On 633: 566:Professor Griff 536: 530:and Farrakhan. 524:Louis Farrakhan 520:Nation of Islam 494: 481: 437:white supremacy 390:Professor Griff 386:the controversy 331: 326: 323: 322: 317: 314: 313: 308: 301: 300: 295: 288: 287: 282: 278:Fight the Power 275: 274: 246: 237: 228: 194: 168: 164: 163: 147:progressive rap 119: 112:Spectrum City ( 68: 41: 36: 23: 22: 15: 12: 11: 5: 8404: 8402: 8394: 8393: 8388: 8383: 8378: 8373: 8368: 8363: 8358: 8353: 8343: 8342: 8336: 8335: 8333: 8332: 8327: 8322: 8317: 8310: 8308:The Bomb Squad 8305: 8298: 8293: 8287: 8285: 8281: 8280: 8278: 8277: 8270: 8263: 8255: 8253: 8249: 8248: 8246: 8245: 8238: 8231: 8224: 8217: 8210: 8207:Can't Truss It 8203: 8196: 8189: 8182: 8175: 8168: 8161: 8154: 8147: 8139: 8137: 8133: 8132: 8130: 8129: 8122: 8114: 8112: 8108: 8107: 8105: 8104: 8097: 8089: 8087: 8083: 8082: 8080: 8079: 8072: 8065: 8058: 8051: 8044: 8037: 8030: 8027:New Whirl Odor 8023: 8020:Revolverlution 8016: 8009: 8002: 7995: 7988: 7981: 7974: 7966: 7964: 7960: 7959: 7957: 7956: 7954:Sister Souljah 7951: 7945: 7944: 7939: 7932: 7925: 7918: 7910: 7907: 7906: 7901: 7899: 7898: 7891: 7884: 7876: 7870: 7869: 7855: 7854:External links 7852: 7851: 7850: 7834: 7816: 7802:DeRogatis, Jim 7798: 7784: 7769: 7766: 7764: 7763: 7757: 7743:Whitburn, Joel 7739: 7733: 7720: 7714: 7699: 7693: 7685:Listen to This 7677: 7671: 7654: 7648: 7621: 7615: 7602: 7596: 7579: 7570: 7564: 7545: 7539: 7521: 7515: 7497:Lommel, Cookie 7493: 7487: 7473:, ed. (1998). 7467: 7461: 7444: 7438: 7423: 7417: 7402: 7396: 7378:Weisbard, Eric 7370: 7364: 7340: 7334: 7312: 7306: 7284: 7282: 7279: 7277: 7276: 7251: 7226: 7201: 7175: 7153: 7125: 7103: 7078: 7076:, p. 885. 7066: 7039: 7011: 6986: 6953: 6928: 6911:"Public Enemy" 6893: 6871: 6846: 6821: 6803: 6781: 6765: 6753: 6741: 6729: 6713: 6701: 6689: 6678:on May 6, 2016 6653: 6624: 6598: 6568: 6543: 6517: 6487: 6472: 6444: 6437: 6410: 6393: 6378: 6366: 6354: 6342: 6325: 6313: 6297: 6279: 6253: 6238: 6220: 6218:, p. 255. 6216:Christgau 2000 6208: 6180: 6165: 6135: 6118: 6091: 6065: 6037: 6011: 5985: 5953: 5926: 5900: 5866: 5854: 5843:Bradley, Lloyd 5834: 5811:"Planet Sweet" 5798: 5766: 5740: 5699: 5673: 5671:, p. 133. 5661: 5636: 5602: 5572: 5537: 5520:"Public Enemy" 5511: 5485: 5473: 5463:. 11 July 2019 5448: 5433: 5421: 5409: 5407:, p. 187. 5405:Gueraseva 2005 5397: 5367: 5331: 5329:, p. 148. 5316: 5290: 5263: 5261:, p. 123. 5248: 5246:, p. 124. 5231: 5229:, p. 122. 5219: 5207: 5179: 5177:, p. 789. 5164: 5132: 5093: 5057: 5045: 5043:, p. 478. 5028: 5026:, p. 128. 5013: 4984: 4952: 4920: 4888: 4877:. p. g.03 4846: 4801: 4790:. Sputnikmusic 4769: 4767:, p. 124. 4757: 4734: 4709:(April 1990). 4695: 4680: 4652: 4650:, p. 471. 4640: 4638:, p. 207. 4625: 4613: 4611:, p. 147. 4590: 4562: 4529: 4496: 4494:, p. 149. 4475: 4450: 4448:, p. 479. 4433: 4405: 4377: 4341: 4339:, p. 150. 4329: 4327:, p. 146. 4314: 4279: 4213: 4177: 4134: 4099: 4097:, p. 473. 4087: 4085:, p. 472. 4072: 4007: 3995: 3949: 3937: 3909: 3907:, p. 131. 3894: 3861: 3859:, p. 121. 3842: 3816: 3798: 3769: 3762: 3742: 3736:978-1440865671 3735: 3713: 3706: 3694:Backbeat Books 3676: 3650: 3648: 3645: 3642: 3641: 3633: 3632: 3629: 3626: 3618: 3617: 3614: 3611: 3603: 3602: 3599: 3596: 3588: 3587: 3581: 3578: 3569: 3568:Certifications 3566: 3563: 3562: 3554: 3553: 3550: 3543: 3539: 3538: 3535: 3531: 3530: 3527: 3524: 3520: 3519: 3516: 3508: 3507: 3504: 3496: 3495: 3492: 3484: 3483: 3480: 3476: 3475: 3472: 3469: 3465: 3464: 3461: 3453: 3452: 3449: 3441: 3440: 3437: 3425: 3424: 3421: 3411: 3410: 3407: 3403: 3402: 3399: 3391: 3390: 3387: 3383: 3382: 3379: 3376: 3368: 3367: 3364: 3356: 3355: 3352: 3344: 3343: 3340: 3328: 3327: 3324: 3320: 3319: 3316: 3308: 3307: 3304: 3301: 3298: 3294: 3293: 3290: 3278: 3277: 3274: 3260: 3259: 3256: 3245: 3244: 3241: 3234: 3227: 3223: 3222: 3217: 3214: 3211: 3204: 3201: 3197: 3196: 3190: 3189: 3186: 3178: 3177: 3174: 3166: 3165: 3162: 3155: 3152: 3150: 3147: 3146: 3143: 3129: 3128: 3125: 3115: 3114: 3111: 3100: 3099: 3096: 3091:Swiss Albums ( 3088: 3087: 3084: 3076: 3075: 3072: 3064: 3063: 3060: 3052: 3051: 3048: 3043:Dutch Albums ( 3040: 3039: 3036: 3026: 3025: 3022: 3014: 3013: 3008: 3001: 2998: 2993: 2991: 2988: 2986: 2985: 2982: 2979: 2976: 2973: 2970: 2967: 2964: 2961: 2958: 2955: 2952: 2949: 2946: 2943: 2940: 2937: 2934: 2931: 2928: 2925: 2922: 2919: 2916: 2913: 2910: 2907: 2904: 2901: 2898: 2895: 2892: 2889: 2886: 2883: 2880: 2877: 2874: 2871: 2868: 2864: 2859: 2856: 2855: 2854: 2851: 2848: 2845: 2842: 2839: 2836: 2833: 2830: 2827: 2824: 2821: 2818: 2815: 2812: 2809: 2806: 2803: 2798: 2795: 2791: 2790: 2787: 2781: 2780: 2777: 2774: 2767: 2763: 2762: 2759: 2756: 2753: 2749: 2748: 2745: 2742: 2739: 2735: 2734: 2731: 2728: 2725: 2721: 2720: 2717: 2712: 2709: 2705: 2704: 2701: 2698: 2695: 2691: 2690: 2687: 2684: 2681: 2677: 2676: 2673: 2670: 2667: 2663: 2662: 2659: 2656: 2653: 2649: 2648: 2645: 2642: 2639: 2635: 2634: 2631: 2628: 2625: 2614: 2610: 2609: 2606: 2603: 2600: 2596: 2595: 2592: 2590: 2589: 2586: 2583: 2580: 2575: 2573:O'Shea Jackson 2569: 2567: 2564:Big Daddy Kane 2552: 2548: 2547: 2544: 2541: 2538: 2534: 2533: 2530: 2527: 2524: 2520: 2519: 2516: 2513: 2510: 2506: 2505: 2502: 2499: 2492: 2488: 2487: 2484: 2481: 2478: 2474: 2473: 2470: 2468: 2467: 2464: 2461: 2455: 2453: 2446: 2442: 2441: 2438: 2435: 2432: 2428: 2427: 2424: 2421: 2418: 2414: 2413: 2410: 2407: 2404: 2391:The Bomb Squad 2387:Carl Ridenhour 2379:Keith Shocklee 2375: 2373: 2370: 2253:Kembrew McLeod 2226: 2225: 2222: 2214: 2213: 2210: 2202: 2201: 2172: 2164: 2163: 2134: 2126: 2125: 2122: 2114: 2113: 2110: 2102: 2101: 2072: 2064: 2063: 2060: 2052: 2051: 2022: 2014: 2013: 1984: 1978: 1977: 1974: 1970: 1969: 1959: 1956: 1917:Holy Intellect 1908:Five Percenter 1847:George Clinton 1806:the Last Poets 1788: 1786: 1783: 1740:Pazz & Jop 1685:, writing for 1634:Edna Gundersen 1606: 1605: 1602: 1594: 1593: 1564: 1556: 1555: 1526: 1518: 1517: 1514: 1506: 1505: 1502: 1494: 1493: 1469: 1461: 1460: 1457: 1453: 1452: 1442: 1439: 1400:Top Pop Albums 1353: 1350: 1247:electro-boogie 1196:black feminism 1161:internal rhyme 1116: 1109: 1099: 1094: 1093: 1092: 1083: 1082: 1081: 1079: 1076: 1040:American media 1032:Robert Hilburn 992: 989: 946:Simon Reynolds 926:Kembrew McLeod 844: 842: 839: 806:Big Daddy Kane 798:Kembrew McLeod 752:The Bomb Squad 686:Keith Shocklee 634: 632: 629: 541:sociopolitical 516:Nelson Mandela 504:The Bomb Squad 493: 490: 429:race relations 368:The Bomb Squad 337: 336: 333: 332: 330: 329: 320: 311: 298: 285: 271: 268: 267: 257: 256: 253: 252: 249: 248: 239: 230: 216: 215: 208: 207: 205:The Bomb Squad 202: 196: 195: 193: 192: 187: 181: 179: 173: 172: 161: 157: 156: 155: 154: 149: 144: 139: 134: 127: 121: 120: 118: 117: 110: 107:West Hempstead 103: 92: 90: 86: 85: 82: 78: 77: 76:April 10, 1990 74: 70: 69: 64: 57: 56: 48: 47: 39: 24: 14: 13: 10: 9: 6: 4: 3: 2: 8403: 8392: 8389: 8387: 8384: 8382: 8379: 8377: 8374: 8372: 8369: 8367: 8364: 8362: 8359: 8357: 8354: 8352: 8349: 8348: 8346: 8331: 8328: 8326: 8323: 8321: 8318: 8316: 8315: 8311: 8309: 8306: 8304: 8303: 8299: 8297: 8294: 8292: 8289: 8288: 8286: 8282: 8275: 8271: 8268: 8264: 8261: 8257: 8256: 8254: 8250: 8243: 8239: 8236: 8232: 8229: 8225: 8222: 8218: 8215: 8214:Shut 'Em Down 8211: 8208: 8204: 8201: 8200:911 Is a Joke 8197: 8194: 8190: 8187: 8183: 8180: 8176: 8173: 8169: 8166: 8162: 8159: 8155: 8152: 8148: 8145: 8141: 8140: 8138: 8134: 8128: 8127: 8123: 8121: 8120: 8116: 8115: 8113: 8109: 8103: 8102: 8098: 8096: 8095: 8091: 8090: 8088: 8086:Live releases 8084: 8078: 8077: 8073: 8071: 8070: 8066: 8064: 8063: 8059: 8057: 8056: 8052: 8050: 8049: 8045: 8043: 8042: 8038: 8036: 8035: 8031: 8029: 8028: 8024: 8022: 8021: 8017: 8015: 8014: 8010: 8008: 8007: 8003: 8001: 8000: 7996: 7994: 7993: 7989: 7987: 7986: 7982: 7980: 7979: 7975: 7973: 7972: 7968: 7967: 7965: 7963:Studio albums 7961: 7955: 7952: 7950: 7947: 7946: 7943: 7940: 7938: 7937: 7933: 7931: 7930: 7926: 7924: 7923: 7919: 7917: 7916: 7912: 7911: 7908: 7904: 7897: 7892: 7890: 7885: 7883: 7878: 7877: 7874: 7867: 7863: 7862: 7858: 7857: 7853: 7847: 7843: 7839: 7838:Stubbs, David 7835: 7831: 7830: 7825: 7821: 7817: 7813: 7812: 7807: 7803: 7799: 7795: 7791: 7787: 7785:9781847862112 7781: 7777: 7772: 7771: 7767: 7760: 7754: 7750: 7749: 7744: 7740: 7736: 7730: 7726: 7721: 7717: 7711: 7707: 7706: 7700: 7696: 7690: 7686: 7682: 7678: 7674: 7672:0-7432-0120-5 7668: 7664: 7660: 7655: 7651: 7649:0-7432-0169-8 7645: 7641: 7637: 7636: 7631: 7627: 7622: 7618: 7612: 7609:. Macmillan. 7608: 7603: 7599: 7593: 7589: 7585: 7580: 7576: 7571: 7567: 7561: 7557: 7553: 7552: 7546: 7542: 7536: 7532: 7531: 7526: 7522: 7518: 7512: 7508: 7504: 7503: 7498: 7494: 7490: 7484: 7480: 7476: 7472: 7471:Larkin, Colin 7468: 7464: 7458: 7454: 7450: 7445: 7441: 7439:0-06-098896-7 7435: 7431: 7430: 7424: 7420: 7418:0-345-46804-X 7414: 7411:. One World. 7410: 7409: 7403: 7399: 7397:0-679-75574-8 7393: 7389: 7388:Vintage Books 7385: 7384: 7379: 7375: 7371: 7367: 7365:0-415-96919-0 7361: 7357: 7353: 7349: 7345: 7341: 7337: 7335:0-312-24560-2 7331: 7327: 7323: 7322: 7317: 7313: 7309: 7303: 7299: 7295: 7291: 7286: 7285: 7280: 7265: 7261: 7255: 7252: 7240: 7236: 7230: 7227: 7215: 7211: 7205: 7202: 7189: 7185: 7179: 7176: 7164:. Hung Medien 7163: 7157: 7154: 7142: 7138: 7132: 7130: 7126: 7114:. Hung Medien 7113: 7107: 7104: 7092: 7088: 7082: 7079: 7075: 7074:Whitburn 2003 7070: 7067: 7054: 7048: 7046: 7044: 7040: 7028: 7024: 7018: 7016: 7012: 6999: 6993: 6991: 6987: 6974: 6968: 6966: 6964: 6962: 6960: 6958: 6954: 6942: 6938: 6932: 6929: 6916: 6912: 6906: 6904: 6902: 6900: 6898: 6894: 6881: 6875: 6872: 6860: 6856: 6850: 6847: 6835: 6831: 6825: 6822: 6818: 6817: 6812: 6807: 6804: 6800: 6799: 6794: 6792: 6785: 6782: 6778: 6774: 6769: 6766: 6762: 6757: 6754: 6750: 6745: 6742: 6738: 6733: 6730: 6726: 6723:(in German). 6722: 6717: 6714: 6710: 6705: 6702: 6698: 6693: 6690: 6677: 6673: 6669: 6668: 6663: 6657: 6654: 6642: 6638: 6631: 6629: 6625: 6612: 6608: 6602: 6599: 6586: 6582: 6579:(July 2005). 6578: 6572: 6569: 6557: 6556:Rolling Stone 6553: 6547: 6544: 6531: 6530:Rolling Stone 6527: 6521: 6518: 6505: 6501: 6500:Rolling Stone 6497: 6491: 6488: 6483: 6482:Rolling Stone 6476: 6473: 6461: 6460: 6455: 6448: 6445: 6440: 6438:0-7535-0493-6 6434: 6430: 6426: 6425: 6420: 6414: 6411: 6406: 6405: 6397: 6394: 6389: 6382: 6379: 6376:, p. 60. 6375: 6370: 6367: 6364:, p. 13. 6363: 6358: 6355: 6352:, p. 68. 6351: 6346: 6343: 6338: 6337: 6329: 6326: 6322: 6317: 6314: 6310: 6306: 6301: 6298: 6293: 6286: 6284: 6280: 6268: 6264: 6257: 6254: 6249: 6242: 6239: 6234: 6233: 6224: 6221: 6217: 6212: 6209: 6197: 6196: 6191: 6184: 6181: 6178:, p. 87. 6177: 6172: 6170: 6166: 6153: 6149: 6142: 6140: 6136: 6133:, p. 86. 6132: 6127: 6125: 6123: 6119: 6106: 6102: 6095: 6092: 6079: 6075: 6069: 6066: 6053: 6052: 6047: 6041: 6038: 6026: 6022: 6015: 6012: 5999: 5995: 5989: 5986: 5973: 5969: 5968: 5963: 5957: 5954: 5941: 5937: 5930: 5927: 5914: 5910: 5904: 5901: 5888: 5884: 5880: 5873: 5871: 5867: 5863: 5858: 5855: 5850: 5849: 5844: 5838: 5835: 5822: 5818: 5817: 5812: 5808: 5802: 5799: 5786: 5785: 5780: 5773: 5771: 5767: 5755: 5751: 5744: 5741: 5728: 5724: 5723: 5722:Rolling Stone 5718: 5714: 5708: 5706: 5704: 5700: 5688: 5684: 5677: 5674: 5670: 5665: 5662: 5650: 5646: 5640: 5637: 5624: 5620: 5616: 5609: 5607: 5603: 5590: 5586: 5582: 5576: 5573: 5560: 5556: 5555: 5550: 5544: 5542: 5538: 5525: 5521: 5515: 5512: 5499: 5495: 5489: 5486: 5482: 5477: 5474: 5462: 5458: 5452: 5449: 5446:, p. 52. 5445: 5440: 5438: 5434: 5431:, p. 51. 5430: 5425: 5422: 5419:, p. 50. 5418: 5413: 5410: 5406: 5401: 5398: 5385: 5381: 5377: 5371: 5368: 5356: 5355: 5350: 5346: 5340: 5338: 5336: 5332: 5328: 5323: 5321: 5317: 5304: 5300: 5294: 5291: 5278: 5274: 5267: 5264: 5260: 5255: 5253: 5249: 5245: 5240: 5238: 5236: 5232: 5228: 5223: 5220: 5217:, p. 55. 5216: 5211: 5208: 5196: 5195: 5190: 5183: 5180: 5176: 5171: 5169: 5165: 5152: 5148: 5147: 5142: 5136: 5133: 5120: 5119: 5114: 5110: 5104: 5102: 5100: 5098: 5094: 5081: 5080: 5075: 5068: 5066: 5064: 5062: 5058: 5055:, p. 84. 5054: 5049: 5046: 5042: 5037: 5035: 5033: 5029: 5025: 5020: 5018: 5014: 5001: 5000: 4995: 4988: 4985: 4972: 4965: 4963: 4961: 4959: 4957: 4953: 4940: 4936: 4929: 4927: 4925: 4921: 4908: 4907: 4902: 4898: 4892: 4889: 4876: 4875: 4870: 4863: 4861: 4859: 4857: 4855: 4853: 4851: 4847: 4834: 4830: 4829: 4824: 4820: 4814: 4812: 4810: 4808: 4806: 4802: 4789: 4782: 4780: 4778: 4776: 4774: 4770: 4766: 4761: 4758: 4755:, p. 85. 4754: 4749: 4747: 4745: 4743: 4741: 4739: 4735: 4722: 4718: 4717: 4712: 4708: 4702: 4700: 4696: 4692: 4687: 4685: 4681: 4669: 4668: 4663: 4656: 4653: 4649: 4644: 4641: 4637: 4632: 4630: 4626: 4622: 4617: 4614: 4610: 4605: 4603: 4601: 4599: 4597: 4595: 4591: 4579: 4578: 4573: 4566: 4563: 4550: 4546: 4545: 4540: 4533: 4530: 4518: 4514: 4507: 4505: 4503: 4501: 4497: 4493: 4488: 4486: 4484: 4482: 4480: 4476: 4471: 4470: 4465: 4459: 4457: 4455: 4451: 4447: 4442: 4440: 4438: 4434: 4422: 4421: 4416: 4409: 4406: 4394: 4393: 4388: 4381: 4378: 4365: 4361: 4360: 4355: 4351: 4345: 4342: 4338: 4333: 4330: 4326: 4321: 4319: 4315: 4310: 4304: 4296: 4292: 4286: 4284: 4280: 4268: 4267: 4262: 4258: 4252: 4250: 4248: 4246: 4244: 4242: 4240: 4238: 4236: 4234: 4232: 4230: 4228: 4226: 4224: 4222: 4220: 4218: 4214: 4201: 4197: 4196: 4191: 4184: 4182: 4178: 4166: 4165: 4160: 4153: 4151: 4149: 4147: 4145: 4143: 4141: 4139: 4135: 4123: 4119: 4112: 4110: 4108: 4106: 4104: 4100: 4096: 4091: 4088: 4084: 4079: 4077: 4073: 4061: 4060: 4055: 4048: 4046: 4044: 4042: 4040: 4038: 4036: 4034: 4032: 4030: 4028: 4026: 4024: 4022: 4020: 4018: 4016: 4014: 4012: 4008: 4005:, p. 73. 4004: 3999: 3996: 3984: 3983: 3978: 3974: 3968: 3966: 3964: 3962: 3960: 3958: 3956: 3954: 3950: 3947:, p. 76. 3946: 3941: 3938: 3926: 3925: 3920: 3913: 3910: 3906: 3901: 3899: 3895: 3883: 3879: 3875: 3871: 3865: 3862: 3858: 3853: 3851: 3849: 3847: 3843: 3831: 3827: 3820: 3817: 3812: 3801: 3799:9780520932579 3795: 3791: 3787: 3783: 3779: 3778:Pinn, Anthony 3773: 3770: 3765: 3759: 3755: 3754: 3746: 3743: 3738: 3732: 3728: 3724: 3717: 3714: 3709: 3707:9780879306274 3703: 3699: 3695: 3691: 3687: 3680: 3677: 3666: 3662: 3655: 3652: 3646: 3640: 3630: 3627: 3624: 3619: 3615: 3612: 3609: 3604: 3600: 3597: 3594: 3589: 3585: 3580:Certification 3575: 3567: 3560: 3555: 3551: 3548: 3541: 3540: 3536: 3532: 3528: 3521: 3517: 3514: 3509: 3505: 3502: 3497: 3493: 3490: 3485: 3481: 3477: 3473: 3466: 3462: 3459: 3454: 3450: 3447: 3442: 3438: 3435: 3431: 3426: 3422: 3420: 3417: 3412: 3408: 3404: 3400: 3397: 3394:Switzerland ( 3392: 3388: 3384: 3380: 3374: 3373:911 Is a Joke 3369: 3365: 3362: 3357: 3353: 3350: 3345: 3341: 3338: 3334: 3329: 3325: 3321: 3317: 3314: 3311:New Zealand ( 3309: 3305: 3295: 3291: 3288: 3284: 3279: 3275: 3272: 3271: 3266: 3261: 3257: 3254: 3250: 3246: 3242: 3239: 3236:Netherlands ( 3232: 3224: 3218: 3208: 3202: 3195: 3187: 3184: 3179: 3175: 3172: 3167: 3161:Chart (1990) 3159: 3153: 3151: 3141: 3140: 3135: 3130: 3124: 3122: 3116: 3109: 3105: 3101: 3094: 3089: 3082: 3077: 3070: 3065: 3058: 3053: 3046: 3045:Album Top 100 3041: 3037: 3034: 3033: 3027: 3020: 3015: 3007:Chart (1990) 3005: 3000:Weekly charts 2999: 2997: 2996: 2989: 2983: 2980: 2977: 2974: 2971: 2968: 2965: 2962: 2959: 2956: 2953: 2950: 2947: 2944: 2941: 2938: 2935: 2932: 2929: 2926: 2923: 2920: 2917: 2914: 2911: 2908: 2905: 2902: 2899: 2896: 2893: 2890: 2887: 2884: 2881: 2878: 2875: 2872: 2869: 2866: 2865: 2863: 2857: 2852: 2849: 2846: 2843: 2840: 2837: 2834: 2831: 2828: 2825: 2822: 2819: 2816: 2813: 2810: 2807: 2804: 2801: 2800: 2796: 2788: 2785:Total length: 2778: 2775: 2772: 2768: 2764: 2760: 2757: 2754: 2750: 2746: 2743: 2740: 2736: 2732: 2729: 2726: 2722: 2718: 2716: 2715:Norman Rogers 2713: 2710: 2706: 2702: 2699: 2696: 2692: 2688: 2685: 2682: 2678: 2674: 2671: 2668: 2664: 2660: 2657: 2654: 2650: 2646: 2643: 2640: 2636: 2620: 2607: 2604: 2601: 2597: 2593: 2587: 2584: 2581: 2579: 2578:Antonio Hardy 2576: 2574: 2571: 2570: 2568: 2565: 2561: 2558:" (featuring 2557: 2553: 2549: 2545: 2542: 2539: 2535: 2531: 2528: 2525: 2521: 2517: 2514: 2511: 2507: 2503: 2500: 2497: 2493: 2489: 2485: 2482: 2479: 2475: 2471: 2465: 2462: 2460: 2457: 2456: 2454: 2451: 2450:911 Is a Joke 2447: 2443: 2439: 2436: 2433: 2429: 2425: 2422: 2419: 2415: 2399: 2393: 2392: 2388: 2384: 2380: 2372:Track listing 2371: 2369: 2367: 2363: 2355: 2348: 2344: 2340: 2337:In 2004, the 2335: 2330: 2329: 2321: 2320: 2315: 2311: 2307: 2306:Rolling Stone 2303: 2302: 2298:and named in 2297: 2296: 2291: 2284: 2283: 2278: 2277: 2268: 2264: 2260: 2256: 2254: 2250: 2246: 2242: 2237: 2233: 2223: 2221: 2220: 2216: 2215: 2211: 2209: 2208: 2204: 2203: 2173: 2171: 2170: 2166: 2165: 2135: 2133: 2132: 2128: 2127: 2123: 2121: 2120: 2116: 2115: 2111: 2109: 2108: 2104: 2103: 2073: 2071: 2070: 2066: 2065: 2061: 2059: 2058: 2054: 2053: 2023: 2021: 2020: 2016: 2015: 1985: 1983: 1980: 1979: 1971: 1968:Review scores 1966: 1957: 1955: 1953: 1949: 1945: 1944: 1939: 1934: 1931: 1927: 1923: 1919: 1918: 1913: 1909: 1905: 1901: 1900: 1895: 1894:Black Panther 1891: 1890: 1885: 1881: 1877: 1872: 1868: 1865: 1860: 1856: 1852: 1848: 1844: 1840: 1839: 1831: 1826: 1823: 1822: 1814: 1811: 1807: 1803: 1799: 1795: 1784: 1782: 1780: 1776: 1772: 1768: 1764: 1763: 1755: 1751: 1747: 1746: 1741: 1734: 1730: 1725: 1723: 1719: 1718: 1713: 1708: 1707: 1702: 1701: 1696: 1695: 1690: 1689: 1684: 1680: 1676: 1675: 1669: 1666: 1665: 1659: 1658: 1653: 1649: 1645: 1641: 1640: 1639:Rolling Stone 1635: 1628: 1627: 1622: 1618: 1617: 1612: 1603: 1601: 1600: 1596: 1595: 1565: 1563: 1562: 1561:Rolling Stone 1558: 1557: 1527: 1525: 1524: 1520: 1519: 1515: 1513: 1512: 1508: 1507: 1503: 1501: 1500: 1496: 1495: 1470: 1468: 1467: 1463: 1462: 1454: 1451:Review scores 1449: 1440: 1438: 1436: 1435: 1430: 1429:radio airplay 1425: 1421: 1417: 1412: 1410: 1406: 1401: 1398: 1397: 1392: 1388: 1386: 1385: 1380: 1376: 1371: 1367: 1363: 1359: 1351: 1349: 1347: 1342: 1337: 1333: 1329: 1328:911 Is a Joke 1324: 1322: 1321: 1315: 1314:rock and roll 1311: 1307: 1306:Elvis Presley 1303: 1299: 1295: 1291: 1290: 1285: 1281: 1273: 1272:911 Is a Joke 1269: 1265: 1261: 1257: 1254: 1253: 1248: 1244: 1240: 1239:Roland TR-808 1236: 1231: 1229: 1226: 1222: 1217: 1213: 1209: 1208:miscegenation 1205: 1201: 1197: 1192: 1190: 1186: 1182: 1178: 1174: 1170: 1166: 1162: 1158: 1154: 1150: 1146: 1142: 1141:Yusef Hawkins 1137: 1135: 1131: 1124: 1122: 1097: 1077: 1075: 1073: 1069: 1065: 1060: 1056: 1052: 1048: 1043: 1041: 1037: 1033: 1029: 1026: 1021: 1017: 1013: 1009: 1005: 1001: 997: 990: 988: 986: 981: 976: 975: 969: 967: 966: 965:On the Corner 961: 957: 956: 951: 947: 943: 939: 935: 934:popular music 931: 927: 923: 922:John Coltrane 919: 915: 911: 910: 906:According to 904: 901: 897: 893: 889: 885: 881: 877: 873: 872: 867: 860: 855: 849: 840: 838: 836: 832: 828: 823: 821: 820: 815: 811: 807: 802: 799: 795: 794: 789: 785: 781: 778: 773: 771: 766: 761: 754:for the album 753: 749: 744: 740: 738: 733: 729: 725: 721: 718: 713: 711: 705: 703: 699: 698:wall of noise 695: 691: 687: 683: 679: 674: 672: 665: 663: 662: 661:Sgt. Pepper's 657: 653: 649: 648: 643: 642: 630: 628: 626: 625: 620: 616: 612: 610: 605: 601: 597: 594:To follow up 592: 590: 584: 581: 577: 576: 571: 567: 558: 553: 549: 546: 542: 535: 531: 529: 525: 521: 517: 513: 512:Assata Shakur 509: 505: 501: 500: 491: 489: 487: 480: 479: 478:Rolling Stone 474: 470: 466: 461: 457: 452: 450: 446: 442: 438: 434: 430: 426: 422: 418: 414: 410: 406: 402: 397: 395: 391: 387: 383: 379: 378: 373: 369: 365: 361: 357: 353: 349: 346:is the third 345: 344: 334: 321: 312: 305: 304:911 Is a Joke 299: 292: 286: 279: 273: 272: 269: 266: 262: 258: 254: 245: 244: 240: 236: 235: 231: 227: 226: 222: 221: 217: 213: 209: 206: 203: 201: 197: 191: 188: 186: 183: 182: 180: 178: 174: 162: 158: 153: 150: 148: 145: 143: 142:political rap 140: 138: 135: 133: 130: 129: 128: 126: 122: 115: 111: 108: 104: 101: 100:New York City 97: 94: 93: 91: 87: 83: 79: 75: 71: 67: 62: 58: 54: 49: 44: 38: 34: 30: 19: 8312: 8300: 8124: 8117: 8111:Compilations 8099: 8092: 8074: 8067: 8060: 8053: 8046: 8039: 8032: 8025: 8018: 8011: 8004: 7997: 7990: 7984: 7983: 7976: 7969: 7949:Terminator X 7941: 7934: 7927: 7920: 7913: 7903:Public Enemy 7859: 7827: 7820:Pareles, Jon 7809: 7775: 7747: 7724: 7704: 7684: 7658: 7634: 7606: 7583: 7574: 7550: 7528: 7501: 7474: 7448: 7428: 7407: 7382: 7351: 7320: 7293: 7281:Bibliography 7267:. Retrieved 7254: 7242:. Retrieved 7229: 7217:. Retrieved 7214:Music Canada 7204: 7192:. Retrieved 7187: 7178: 7166:. Retrieved 7156: 7144:. Retrieved 7140: 7116:. Retrieved 7106: 7094:. Retrieved 7090: 7081: 7069: 7057:. Retrieved 7030:. Retrieved 7026: 7002:. Retrieved 6977:. Retrieved 6944:. Retrieved 6940: 6931: 6919:. Retrieved 6884:. Retrieved 6874: 6862:. Retrieved 6858: 6849: 6837:. Retrieved 6833: 6824: 6815: 6806: 6797: 6790: 6784: 6768: 6756: 6744: 6732: 6716: 6704: 6692: 6682:December 13, 6680:. Retrieved 6676:the original 6665: 6656: 6644:. Retrieved 6615:. Retrieved 6610: 6601: 6589:. Retrieved 6584: 6571: 6560:. Retrieved 6558:. 2020-09-22 6555: 6546: 6536:September 9, 6534:. Retrieved 6520: 6508:. Retrieved 6504:the original 6499: 6490: 6481: 6475: 6465:February 13, 6463:. Retrieved 6457: 6447: 6429:Virgin Books 6422: 6419:Colin Larkin 6413: 6402: 6396: 6388:The Guardian 6387: 6381: 6369: 6357: 6345: 6334: 6328: 6316: 6300: 6291: 6272:November 30, 6270:. Retrieved 6266: 6256: 6247: 6241: 6232:The Guardian 6230: 6223: 6211: 6201:December 17, 6199:. Retrieved 6193: 6183: 6156:. Retrieved 6151: 6109:. Retrieved 6104: 6094: 6082:. Retrieved 6077: 6068: 6056:. Retrieved 6049: 6040: 6028:. Retrieved 6024: 6014: 6002:. Retrieved 5997: 5988: 5976:. Retrieved 5972:the original 5965: 5956: 5944:. Retrieved 5939: 5929: 5917:. Retrieved 5912: 5903: 5891:. Retrieved 5887:the original 5882: 5857: 5846: 5837: 5825:. Retrieved 5821:the original 5814: 5807:Kelly, Danny 5801: 5789:. Retrieved 5787:. p. 11 5782: 5757:. Retrieved 5753: 5743: 5731:. Retrieved 5727:the original 5720: 5690:. Retrieved 5686: 5676: 5664: 5652:. Retrieved 5648: 5639: 5627:. Retrieved 5623:the original 5618: 5593:. Retrieved 5589:the original 5584: 5575: 5563:. Retrieved 5559:the original 5552: 5528:. Retrieved 5514: 5502:. Retrieved 5497: 5488: 5476: 5465:. Retrieved 5451: 5424: 5412: 5400: 5388:. Retrieved 5383: 5376:Leland, John 5370: 5358:. Retrieved 5352: 5307:. Retrieved 5302: 5293: 5281:. Retrieved 5277:the original 5266: 5222: 5210: 5198:. Retrieved 5192: 5182: 5155:. Retrieved 5151:the original 5144: 5135: 5123:. Retrieved 5116: 5084:. Retrieved 5077: 5048: 5024:Jenkins 2002 5004:. Retrieved 4997: 4987: 4975:. Retrieved 4969:Bush, John. 4943:. Retrieved 4938: 4911:. Retrieved 4904: 4891: 4879:. Retrieved 4872: 4837:. Retrieved 4833:the original 4826: 4819:Sandow, Greg 4792:. Retrieved 4765:Santoro 1995 4760: 4725:. Retrieved 4721:the original 4716:Melody Maker 4714: 4691:Prahlad 2006 4671:. Retrieved 4665: 4655: 4643: 4616: 4581:. Retrieved 4577:The Atlantic 4575: 4565: 4553:. Retrieved 4549:the original 4542: 4532: 4520:. Retrieved 4467: 4424:. Retrieved 4418: 4408: 4396:. Retrieved 4390: 4380: 4368:. Retrieved 4364:the original 4357: 4350:Croal, N'Gai 4344: 4332: 4290: 4270:. Retrieved 4264: 4204:. Retrieved 4200:the original 4193: 4168:. Retrieved 4162: 4125:. Retrieved 4121: 4090: 4063:. Retrieved 4057: 3998: 3986:. Retrieved 3980: 3940: 3928:. Retrieved 3922: 3912: 3885:. Retrieved 3882:Video Review 3881: 3864: 3833:. Retrieved 3829: 3819: 3811:Google Books 3809:– via 3803:. Retrieved 3785: 3772: 3751: 3745: 3722: 3716: 3689: 3679: 3668:. Retrieved 3654: 3636: 3593:Music Canada 3558: 3546: 3512: 3500: 3488: 3457: 3445: 3433: 3415: 3360: 3348: 3336: 3286: 3268: 3193: 3182: 3170: 3138: 3120: 3030: 2861: 2741:"War at 33⅓" 2376: 2361: 2353: 2342: 2336: 2326: 2317: 2309: 2305: 2299: 2293: 2290:Colin Larkin 2280: 2276:The Guardian 2274: 2272: 2262: 2248: 2231: 2229: 2217: 2205: 2167: 2129: 2117: 2105: 2069:The Guardian 2067: 2055: 2017: 1941: 1938:drug dealing 1935: 1915: 1897: 1887: 1870: 1869: 1863: 1858: 1854: 1836: 1829: 1828: 1819: 1816: 1810:Public Enemy 1790: 1771:Grammy Award 1766: 1760: 1753: 1749: 1743: 1732: 1728: 1726: 1715: 1711: 1706:Melody Maker 1704: 1698: 1692: 1686: 1678: 1672: 1670: 1662: 1655: 1647: 1637: 1624: 1620: 1614: 1610: 1609: 1597: 1559: 1521: 1509: 1497: 1464: 1432: 1423: 1419: 1415: 1413: 1408: 1394: 1390: 1389: 1382: 1378: 1369: 1357: 1355: 1325: 1319: 1293: 1287: 1277: 1250: 1232: 1220: 1216:Dick Gregory 1212:original man 1193: 1181:Instant Funk 1138: 1130:scratch cuts 1127: 1072:Euro-centric 1068:Afro-centric 1063: 1050: 1046: 1045:In his book 1044: 1027: 995: 994: 979: 972: 970: 963: 953: 913: 907: 905: 883: 869: 858: 857: 851: 846: 824: 817: 803: 791: 783: 782: 768: 757: 748:E-mu SP-1200 736: 720:drum machine 717:E-mu SP-1200 714: 706: 701: 690:Phil Spector 677: 676: 667: 659: 655: 645: 639: 636: 622: 607: 595: 593: 585: 573: 570:anti-Semitic 562: 533: 532: 497: 495: 476: 472: 455: 453: 447:'s views on 420: 400: 398: 394:anti-Semitic 375: 356:Public Enemy 350:by American 348:studio album 342: 341: 340: 264: 241: 233: 232: 223: 212:Public Enemy 66:Public Enemy 61:Studio album 37: 8351:1990 albums 8296:Harry Allen 8291:Discography 8252:Other songs 8006:He Got Game 7922:Flavor Flav 7846:The Quietus 7269:October 17, 7244:October 17, 7219:October 17, 7194:October 17, 7168:October 17, 7146:October 17, 7118:October 17, 7096:October 17, 7059:October 17, 7032:October 17, 7004:October 17, 6979:October 17, 6946:October 17, 6921:October 17, 6886:October 17, 6646:October 17, 6617:October 17, 6591:October 17, 6577:Chang, Jeff 6510:October 17, 6350:McLeod 2007 6307:, pp. 6176:Reeves 2009 6158:October 17, 6131:Reeves 2009 6111:October 17, 6084:October 17, 6058:October 17, 6030:October 17, 6004:October 17, 5978:October 17, 5946:October 17, 5919:October 17, 5893:October 17, 5862:Larkin 1998 5791:October 17, 5759:October 17, 5733:October 17, 5713:Light, Alan 5692:October 17, 5654:October 17, 5629:October 17, 5595:October 17, 5565:October 17, 5530:October 17, 5481:Strong 2004 5444:Lommel 2007 5429:Lommel 2007 5417:Lommel 2007 5390:October 17, 5360:October 17, 5309:October 17, 5283:October 17, 5200:October 17, 5157:October 17, 5125:October 17, 5086:October 17, 5053:Reeves 2009 5006:October 17, 4977:October 17, 4881:October 17, 4839:October 17, 4794:October 17, 4753:Reeves 2009 4727:October 17, 4673:October 17, 4583:October 17, 4555:October 17, 4522:October 17, 4426:October 17, 4398:October 17, 4392:The Quietus 4370:October 17, 4272:October 17, 4206:October 17, 4170:October 17, 4127:October 17, 4065:October 17, 4003:Reeves 2009 3988:October 17, 3945:Reeves 2009 3930:October 17, 3887:October 17, 2383:Eric Sadler 2245:assemblages 1958:Reappraisal 1948:malt liquor 1798:James Brown 1652:Greg Sandow 1642:magazine's 1384:House Party 1368:. Although 1264:Flavor Flav 1169:James Brown 1157:Huey Newton 1059:black power 1020:Greg Sandow 1016:power elite 1004:Flavor Flav 960:Miles Davis 880:music loops 652:Marvin Gaye 471:. In 2020, 460:Afrocentric 441:power elite 152:sampledelia 8345:Categories 8221:Give It Up 7758:0898201551 7734:1841956155 7681:Ross, Alex 7597:0313330379 7488:033374134X 7344:Dery, Mark 6975:. AllMusic 6670:. London: 6562:2021-09-14 6404:The Source 6321:Dyson 1995 6305:Relic 2004 6154:. New York 6107:. New York 5942:. New York 5827:August 17, 5669:Myrie 2008 5467:2019-11-29 5461:Okayplayer 5327:Myrie 2008 5259:Myrie 2008 5244:Myrie 2008 5227:Myrie 2008 5215:NAIES 1992 5082:. New York 4973:. AllMusic 4945:August 17, 4913:August 17, 4621:Myrie 2008 4609:Myrie 2008 4544:Stay Free! 4492:Myrie 2008 4464:Dery, Mark 4337:Myrie 2008 4325:Myrie 2008 4266:PopMatters 3905:Myrie 2008 3857:Myrie 2008 3763:192904996X 3670:2019-09-09 3647:References 3631:1,000,000 3249:UK Singles 2282:The Source 1906:, and the 1851:Bob Marley 1644:Alan Light 1310:John Wayne 1243:Miami bass 1225:homophobic 1121:media help 1014:, and the 985:aesthetics 793:Stay Free! 765:Jeff Chang 696:-layered " 589:Bill Adler 492:Background 484:s list of 439:, and the 413:assemblage 214:chronology 7794:227198538 7556:Canongate 7453:Macmillan 7356:Routledge 7188:Billboard 7141:Billboard 7091:Billboard 7027:Billboard 6941:Billboard 6917:. Singles 6864:April 15, 6859:Billboard 6839:April 15, 6834:Billboard 6816:Billboard 6798:Billboard 6791:Billboard 6672:IPC Media 6611:Pitchfork 6374:Ross 2010 6267:Pitchfork 6235:. London. 6051:The State 5998:USA Today 5883:USA Today 5649:Billboard 5504:August 1, 5498:Billboard 5345:Moon, Tom 5146:Pitchfork 5118:USA Today 5041:Dery 2004 4897:Kot, Greg 4648:Dery 2004 4446:Dery 2004 4164:Billboard 4095:Dery 2004 4083:Dery 2004 3924:LA Weekly 3628:Platinum 3559:Billboard 3547:Billboard 3513:Billboard 3501:Billboard 3489:Billboard 3458:Billboard 3446:Billboard 3434:Billboard 3416:Billboard 3361:Billboard 3349:Billboard 3337:Billboard 3287:Billboard 3270:Billboard 3221:position 3183:Billboard 3171:Billboard 3164:Position 3139:Billboard 3121:Billboard 3104:UK Albums 3012:position 2858:Personnel 2630:Writer(s) 2588:Ridenhour 2409:Writer(s) 2328:Pitchfork 2308:included 2273:In 1997, 2241:Alex Ross 2119:Pitchfork 1843:Bob Dylan 1838:Billboard 1781:in 1991. 1762:The State 1750:USA Today 1738:s annual 1626:USA Today 1396:Billboard 1284:leitmotif 1280:Spike Lee 1153:Malcolm X 950:Sly Stone 835:Cey Adams 831:eclipsing 814:rap crews 732:Macintosh 728:Akai S900 609:Billboard 114:Hempstead 7745:(2003). 7683:(2010). 7632:(eds.). 7527:(2007). 7499:(2007). 7350:(eds.). 7318:(2000). 7292:(2009). 6421:(2000). 5526:. 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