Public Enemy

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During the late 1980's rap/hip hop lyrics started becoming more politicized, with groups such as Public Enemy instrumental in introducing strong political messages into their music. Erlewine says about the band they rewrote the rules of hardcore rap by proving that it could be intelligent, revolutionary and socially aware [about] all kinds of social problems, particularly those plagueing the Black community, often condoning revolutionary tactics and social activism.

The groups origin can be traced back to Adelphi University, where founding member Chuck D(Carlton Ridenhour) was a DJ at the student radio station and became close friends with Hank Shocklee and Bill Stepheny. Stepheny had given Shocklee and Ridenhour the chance to compile a selection of rap/hip hop songs for the station 1983 Super Special Mix Show. In 1984 Shocklee and Ridenhour started to record their own hip hop tracks primarily for broadcast on the show. Rick Rubin (Def Jam records) after hearing their initial recordings (which included the song "Public Enemy No. 1") immediately tried to coaxed the initially reluctant Ridenhour to sign to his label.

Ridenhour teamed together with Professor Griff (Richard Griff), DJ Terminator X (Norman Lee Rogers) and old friend William Drayton. Drayton later adopted the alter-ego Flavor Flav, becoming the groups visual focal point wearing a pair of comic sunglasses and an oversized clock, which would hang around his neck. Professor Griff became choreographer for the group's backup dancers, >The Security of the First World.

After developing the concept for their politically motivated hip-hop group, Public Enemy signed to Def Jam, releasing their debut album in 1987, >Yo! Bum Rush the Show. The group was not only lyrically revolutionary but also pioneered a new sound employing a cut-and-paste technique to fuse together unrecognizable samples, piercing sirens, with traditional funky break beats. The album was critically acclaimed but failed commercially on all charts. The groups second album "It Takes A Nation of Millions to Hold Us Back", according to rolling stone took the pop world by storm. Reaching No.42 in the mainstream charts and No.1 R&B in 1988, it was immediately hailed as hip-hop=s masterpiece...eventually selling a million copies.

Controversy has always surrounded the band due to the strong nature of their lyrics and some of the bands comments. When Chuck D. claimed that rap was "the CNN of Black culture," (castigating the white-controlled media for its inability to relate what was happening in the inner city) he caused a minor upset. But this was foreshadowed in 1989 when Proffessor Griff stated that the Jewish race were responsible for "the majority of wickedness that goes on across the globe." The later statement would eventually lead to the sacking of Professor Griff and the temporary separation of the group.

The groups songs would often discuss black empowerment and the nature of white racism. This fueled white mainstream audience fear and suspicion of rap music. In 1990 it was revealed that the group had appeared in an FBI report which was presented to congress examining >Rap music and its effects on National security. This anxiety was exploited by the band when they released their third album entitled "Fear of a black planet", which reached #10 pop charts and #3 R&B in 1990.

Public Enemies approach to strong social commentary, the condoning of revolutionary tactics and social activism would be surpassed by a new sub-genre of rap music entitled "Gangsta Rap". This style would cause even greater anxiety and controversy than Public Enemy had achieved. Leading to even the revolutionary Public Enemy to write the song "Whatcha Gone Do Now?" In which they targeted this new sub-genre, attacking not only the gangsta rappers but also the music industry that promoted it. Chuck D in an interview with "Time" magazine said that the rappers were slaves to the rhythm of the master.... promoting negative, violent images of African-American life [pointing out that] the rappers aren't the only ones to blame for their albums. Every story needs to be told....I just think the record companies would rather have that ((negative)) story told, [as] they're not accountable to our community.

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