On this date in 1988, Public Enemy released their second LP It Takes A Nation Of Millions To Hold Us Back following up their debut album, which was released just a little over a year earlier.
The album, which was released by Russell Simmons and Rick Rubin’s Def Jam Recordings, was recorded primarily in the legendary Chung King Studios, while other sessions included Greene St. and Sabella Studios in NYC. Production was done exclusively by Hank Shocklee and The Bomb Squad. By August of 1999, the album went platinum and ranks among the top 500 albums of all time, according to Rolling Stone magazine.
Public Enemy, which includes frontman Chuck D., Flavor Flav, Terminator X, Professor Griff and the S1Ws, were pioneers of the revolutionary rap sound, making songs like “Rebel Without A Pause”, “Black Steel In The Hour Of Chaos”, and “Rebel Without A Pause” prototype tracks for the conscious movement in Hip Hop.
Salute to Chuck D., Flav, Professor Griff, and the rest of the crew for bringing Hip Hop fans this classic that will forever hold a place in the illustrious history of this culture.
Check out the video below that was in heavy rotation during the album’s apex. It even features a special guest appearance from MC Lyte as an investigative reporter. Check it out!
It’s been thirty-fiveyears sincethe second studio album from Public Enemy, It Takes a Nation of Millions To Hold Us Back, hit shelves. Its legacy and influence on rap music are simply immeasurable. The album was a battle cry that revolutionized hip-hop and endures as an iconic landmark in the annals of music history.
With its multi-layered production and socio-political messaging, the album galvanized Public Enemy’s status as one of the most iconic and confrontational rap groups ever. Countless acts have tried to ape the ferocity of It Takes A Nation Of Millions To Hold Us Back, but few have been able to fully rise to the occasion. Spawning several iconic singles, the album remains the gold standard for protest rap, even three and a half decades after its release.
The beating heart of It Takes A Nation Of Millions To Hold Us Back is its fierce, politically-charged lyrics. Throughout its runtime, Chuck D raps with a militant cadence as he addresses issues of racial inequality, social injustices, and systematic oppression. His words are more than lyrics on an album sleeve. They are rallying cries for marginalized communities.
Chuck D’s fierce rhetoric is perfectly counterbalanced by hype man, Flavor Flav’s madcap ad-libs, and surreal lyricism. The most prominent example of Flav’s unique lyrical gymnastics is on full display on the track “Cold Lampin’ With Flavor.” Flav’s rhymes tumble out of him like a torrent of staccato fits of word association on the track.
To address the elephant in the room: Some of Public Enemy’s lyrical allusions have been challenged by critics as potentially containing antisemitic underpinnings. This became even more prevalent with the controversy surrounding comments by collaborator Professor Griff, who parted ways with Public Enemy. However, the album’s lyrical content still holds a strong underlying message of social change.
Despite what some might see as the group’s misdirected anger, the album’s lyrics remain universal in their broad stance on speaking truth to power. The album is sadly still relevant, three and a half decades after its release. From drug abuse plaguing poor communities to predatory capitalism, the album takes aim at myriad issues that affect most people in the country, even now.
Sonically speaking, It Takes a NationA Nation Of Millions To Hold Us Back is built to push musical boundaries. It blends intricate beats from the production team, The Bomb Squad with dynamic chop and screwed turntable work from Terminator X. From the opening blast of “Bring The Noise” to the raucous energy of “Rebel Without A Pause,” the album’s sonic tapestry is consistently proactive.
It Takes A Nation… reveals more sonic nuance over the course of its 16 tracks with each repeat listen. The album’s ability to warrant frequent revisits stems from its use of dense and eclectic sampling. The use of works comes from a diverse range of sources like James Brown, Stevie Wonder, Slayer, and Malcolm X. And each sample is intricately woven together, creating a wholly original sound. It’s a perfect pot of musical gumbo that never goes stale.
The musical impact of It Takes a Nation… remains a high watermark in hip-hop production and sampling. However. the issue of sampling would continue to be a controversial talking point regarding copyright violations. However, the album argues rap artists are in the right for myriad reasons.
In the song “Caught, Can We Get a Witness?” Public Enemy directly addresses this topic. Chuck raps, “…I’m giving it a new name, what you hear is mine” on the track, stating his position. The album ultimately posits the notion that previous beats and musical accompaniments are part of the zeitgeist. So, this should allow them to be reused to construct new musical compositions. It’s an argument still raging out in court cases and lawsuits to this day.
The impact It Takes a Nation…made on music is nigh immeasurable. Countless acts from all genres of music have cited the albumas an influence. Bikini Kill singer and activist, Kathleen Hanna cited the album as a “go-to” while touring. Rap acts such as Beastie Boys and Game have sampled the album. Even Nirvana frontman Kurt Cobain cited It Takes a Nation… as one of his 50 favorite albums in his published personal journals.
In terms of broad appeal, the album spawned six singles and reached number 42 on Billboard’s Top LPs list. It also landed number 1 on their Top Black Albums chart and reached Platinum status. It also appears on Rolling Stone‘s list of The 5000 Greatest Albums Of All Time, holding the number 27 position as of 2012. Music publication NME called It Takes a Nation… “the greatest hip-hop album ever” at the time of its release. That claim still holds true for many fans and critics thirty-five years later.
Over the weekend, Prince lovers from around the world gathered at Paisley Park to celebrate and honor Prince’s life on what would have been his 65th birthday and 7th year of his passing. The 7th Annual Celebration event was a major success thanks to star-studded programming, uplifting performances, and engaging panels, all in celebration of Prince’s outstanding legacy and once-in-a-lifetime cultural impact.
Over June 8-11, Paisley Park hosted exclusive presentations of unreleased music from the famous Prince Vault and special appearances by and conversations with Grammy-winning artist Chaka Khan and Hip-Hop legends Chuck D and Doug E. Fresh. Guests were also treated to live performances from powerhouse Minnesota super group Sounds of Blackness, R&B star Stokley of Mint Condition, artist, DJ, and BDP co-founder D-Nice, members of Prince’s band New Power Generation(NPG), Prince protegé Shelby J, and Minneapolis youth choirKnown MPLS, and an exciting showcase of new artists Nunnabove and Nur-D. Supporting new, and young artists was something that was extremely important to Prince, and remains one of Paisley Park’s core values. Celebration included a special Prince Legacy Tribute to one of the founding members of NPG—the beloved vocalist and multi-instrumentalist Rosie Gaines, accepted by her daughter and grandson. The event also honored both Prince and Tina Turner through a unique tribute led by Prince’s longtime DJ and collaborator DJ Rashida.
Attendees were gifted special cassette-shaped USB keys with two previously unreleased tracks from the Prince Vault– “All A Share Together Now,” recorded on September 4, 2006, and “7 (E Flat Version),” recorded on August 9, 1992. Both tracks are set for a worldwide DSP release on July 7, 2023.
Prince’s former attorney, manager and friend, L. Londell McMillan on Celebration 2023: “Thank you to all who contributed to a monumental Prince Celebration 2023. We celebrated Prince and lifted his name, in his house, with many who loved him, on the 7th Anniversary of his transition — we miss him dearly. The music, conversations, events, food, and fellowship were all done with love and gratitude to honor Prince. We look forward to Prince Celebration 2024, the 40th Anniversary of Purple Rain.”
Can You Dig It? is a new audio docu-drama narrated by hip-hop legend and Rock and Roll Hall of Fame inductee Chuck D that explores a rarely told story that led to the birth of a global artistic movement. The 5-part Audible Original series will debut August 10, to commemorate the 50th anniversary of hip-hop. The series begins with the 1971 murder of Cornell “Black Benjie” Benjamin, a member of the influential Ghetto Brothers gang in the south Bronx, and how his role as a peacemaker prompted the historic Hoe Avenue peace meeting: a truce between gangs that paved the way for the birth of hip-hop culture. Tomorrow, June 2, the City of New York will rename the intersection of E. 165th Street and Rogers Place in the Bronx “Cornell ‘Black Benjie’ Benjamin Way,” commemorating the location of his attack. Members of the Can You Dig It? cast, crew and production team will proudly be in attendance at the street renaming ceremony to celebrate this recognition with the Benjamin family and supporters.
Can You Dig It? was created, written and produced by Pete Chelala, Bryan Master and Julian Voloj, of PB&J Productions LLC, a NY-based entertainment and content studio, alongside Channel Zero Executive Producers Lorrie Boula (PBS/BBC’s Fight The Power: How Hip-Hop Change the World) and Chuck D.
“December 8, 1971, was a defining moment in American history. A time when the gangs of New York laid down their weapons and redirected their youthful energy towards the creative arts. Arts that would eventually become the foundation of what we now know as hip-hop,” says Chuck D in the opening of the show.
The mission of Can You Dig It? is to highlight a community’s resilience, the power of peace over violence and to uplift unsung heroes that changed the course of history. It
examines a period of transformation and instability in America and New York City between the late 60s and early 70s, and the circumstances and policies that led to significant urban decay and gang activity in the Bronx, including racist housing and zoning laws and the construction of the Cross Bronx Expressway.
Chuck D elaborates on the thesis of Can You Dig It? on the show by saying: “No death, no peace; no peace, no Kool Herc party; no party, no hip-hop. Black Benjie is an unsung hero…the direct correlation between the peace treaty and the birth of hip-hop is clear. There’d be no Public Enemy without this story.” The 1971 Hoe Avenue peace meeting made the Bronx safer and fostered an artistic cross-pollination of ideas as gang territory lines faded. Just two years later, the famous Kool Herc Back-to-School party at 1520 Sedgwick Avenue in the Bronx took place.
The series features a blend of dramatic scripted scenes and observational commentary with cultural luminaries like street photographers Joe Conzo and Henry Chalfant, former Black Panther Joseph Mpa and hip-hop’s first MC, Coke La Rock. It also includes interviews with family members and experts, archival recordings and a cinematic score. The scripted cast is as diverse as the borough they call home: nearly 100% Black and LatinX led, featuring young talent from the Bronx and surrounding areas, and local community arts programs.
Also included is insight from the family of Black Benjie, who go on-record, for the first time ever: “If Kool Herc is considered the father of hip-hop, then my uncle was the general; my uncle was the martyr,” says Angelique Lenox, niece of Black Benjie. “He didn’t die in vain, something good came from his death; his life mattered. This is truly my best version of a love letter to my father and my family and I will not stop until his name is a part of the hip-hop story.”
The conspiracy case of Pras, which recently resulted in a guilty verdict, is one of the wildest stories of the year so far. However, some figures in the rap game and beyond are sticking up for the Fugees MC and calling out wider systemic issues. Chuck D recently took to Twitter to stand up for his past accomplishments as he maintains his complete innocence despite the verdict. “Pras was never an FBI informant,” his publicist Erica Dumas told AllHipHop on Thursday (April 27). “It’s not accurate and, quite frankly, it’s dangerous. If he was an informant, he would not be on trial. The government does not prosecute and threaten its informants with more than two decades of jail time.”
After news spread like wildfire labeling the 50-year-old as an FBI informant, the Public Enemy legend pointed out some inconsistencies in reporting. “Pras was a valedictorian in HighSchool or in the final runnings,” he tweeted. “They NEVER mention THAT. Instead USA propAgenda machine ALWAYS promotes this backwoods Jed ass Clampett tale of Hood gangstaS, which NEVER been a threat ANYWHERE other than Blackfolk. Wrong is wrong but this SMELLS.
Chuck D Defends Pras
Pras was a valedictorian in HighSchool or in the final runnings. They NEVER mention THAT. Instead USA propAgenda machine ALWAYS promotes this backwoods Jed ass Clampett tale of Hood gangstaS, which NEVER been a threat ANYWHERE other than Blackfolk. Wrong is wrong but this SMELLS pic.twitter.com/LEaTxFOuv1
“The narrative is calling him everything in the book and never mentioning it. That’s it,” Chuck D added in a later tweet. “But the deeper you go into any of this Russell you discover a fraternity ALL pssing in the same urinal holding each others johnson.” Along that same line, Pras’ attorney David Kenner told reporters that the conspiracy trial’s outcome was a let-down. “We are extremely disappointed in that result but are very, very confident in the ultimate outcome of this case,” he stated. “If we do move to a sentencing hearing I remain very confident we will certainly appeal this case. This is not over.”
Meanwhile, other rap legends haven’t taken as kindly to this news. For example, 50 Centroasted the “Zealots” rapper online for being a snitch. While the term “FBI informant” is admittedly misleading, he did confess to collaborating with the agency. As such, it seems like this case’s verdict won’t make it any less murky. Regardless, stick around on HNHH for the latest news and updates on Pras and Chuck D.
April 10, 1990 was the release date of a cornerstone in hip hop music: Public Enemy’sFear of a Black Planet. Still known as one of the most empowering albums of its time, the album was written during a pivotal era both in America and music: the Golden Age of Hip Hop.
Preceding the time where samples required clearance and approval to be used in sample-based music, the album is layered heavily with elements providing space and depth to levels of complexity previously unheard. Fear of a Black Planet‘s production team, The Bomb Squad, worked tirelessly to bring their signature sound to the album. As Rolling Stone’s Christopher Weingarten said in an interview late last year with leading Public Enemy MC Chuck D, it was one of the…
“most sonically adventurous and politically stirring records of all time.”
Examples of some of the known samples, these from the 20th track on the album “Fight The Power”. Bomb Squad producer Hank Shocklee claimed in an interview this year there are still many more samples he’s never spoken of.
Within the first week of release, the album sold more than a million copies, coming in at number 10 on Billboard’s Top Pop Albums chart. Commenting on several racially and politically engaging topics was the goal of the album, and the track that said it best was “Fight The Power.” The deep rhymes and intense verbage used by Chuck in revolutionary poetry made the track not only what the group became known for, but also their critically acclaimed anthem.
Used by director Spike Lee for his film Do The Right Thing, who also filmed this music video, this track alone could be used to describe this legendary album. Fear of a Black Planet was later listed as Rolling Stone’s 300th greatest record of all time.
Chuck D just stamped both Eminem and Black Thought as 2 lyrical cyborgs in hip hop.
During an appearance on N.O.R.E. and DJ EFN’s Drink Champs podcast on Saturday, the Public Enemy veteran gave both MCs their flowers referring to them as ‘cyborgs’..
The legendary MC who is arguably your favorite MC’s MC “Eminem and Black Thought… big ups to Black Thought, The Roots, and also Eminem. Cyborgs, man,” Chuck said. “They’re cyborgs, but let me tell you this: we can also get caught up cause’ you know, you got future generations, and then you got people who ain’t gonna even get on the register who are so dope.”
The “Fight The Power” rapper continued by praising Skyzoo as a dope lyricist, which prompted the Brooklyn MC to give Chuck D his flowers on Instagram.
“The good word on a Sunday from the pastor of hip-hop, the legendary rhyme animal Chuck D,” Skyzoo wrote in response. “An absolute icon. Honored x humbled x grateful to say the least. Thank you OG. The book I studied from as a young aspiring writer had chapters dedicated to your penmanship in it. I learned from you 1,000%. Salute OG.”
Stepping into the online discourse is another legend, Chuck D, who compares Mel to Wilt Chamberlain and understands his perspective.
“Understand Melle Mel was so dominant over the rest of the pack in the first 5 years of records its hard to comprehend for born after MC folk,” he wrote. “Its why i call him Wilt Chamberlain and Wilt had a crate of critiques for the rappers after him including ME. Just Let Mel be Wilt lol.”
Understand Melle Mel was so dominant over the rest of the pack in the first 5 years of records its hard to comprehend for born after MC folk. Its why i call him Wilt Chamberlain and Wilt had a crate of critiques for the rappers after him including ME . Just Let Mel be Wilt lol
Interacting with Dante Ross, Chuck D responded to the Em criticism, calling both he and Black Thought a cyborg.
Em and Black Thought are cyborgs… they gotta get credit for speed and recall which is major. Too much emphasis is on flow because USAers don’t really understand flow in other languages so they don’t rank International mcs correctly
– Chuck D
Em and Black Thought are cyborgs… they gotta get credit for speed and recall which is major. Too much emphasis is on flow because USAers don’t really understand flow in other languages so they don’t rank International mcs correctly
