User:East718/PE
 | THIS IS A SANDBOX, PLEASE DON'T TOUCH IT. THE WRITER OF THIS ARTICLE WORKS QUITE ERRATICALLY AND HAS A TERRIBLE TEMPER. IF YOU GO MESSING AROUND HERE, HE JUST MAY DELETE YOU. |
| It Takes a Nation of Millions to Hold Us Back | ||||
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Public Enemy chronology | ||||
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| Singles from East718/PE | ||||
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ALL REFERENCES NOT IN THE NOTES SECTION NEED TO BE CONVERTED TO {{CITATION}} It Takes a Nation of Millions to Hold Us Back is the second studio album by American
the 500 greatest albums of all time, and is the highest ranked hip hop album on the list.[4]
Uncharacteristically aggressive for its time, It Takes a Nation of Millions represented a radical shift in the hip hop zeitgeist towards
Music
Lyrical content
write something here
- focus on the struggles of black nationalism, particularly in "party for your right to fight" and "black steel in the hour of chaos"
- a section on misogynism - from "sophisticated bitch" to "she watch channel zero?!"
- flavor flav raps?
- something about the instrumental interludes
Production
After using Rick Rubin's rap-rock crossovers and coruscating guitars on Yo! Bum Rush the Show, Chuck D began experimenting with samples of musique concrète in his search for a new production style.[9][10] With the addition of hip hop's first notable production camp, The Bomb Squad, to his entourage of disc jockey Terminator X and dance choreographer Professor Griff, Chuck D stepped away from full-time production duties and instructed his production team to engineer a disturbing, disconcerting, and provocational soundscape that would become "music's worst nightmare."[10]
The Bomb Squad, who produced the album under the lead of
avant-garde noise,[5] they engineered what Chuck D referred to as a "sonic wall": a dense, chaotic mix of "organized noise".[12] The Bomb Squad's practice of not just replicating samples, but manipulating them to suit their needs and discarding them afterwards was praised especially for elevating the technique to an art form despite the controversy associated with it.[13] Public Enemy had little remorse for their production team's actions, bragging on "Caught, Can We Get a Witness?" that "you can't copyright no beats—what, are they crazy?"[14]
With the notable exceptions of 3 Feet High and Rising, The Chronic, and other albums using interpolation, the album would become both one of the first and last to be backed by this eclectic style as future endeavors by other artists ran into legal problems, namely copyright infringement.[15] It Takes a Nation of Millions was made before record labels sought permission for usage of samples, and by 1992 the dense productions of Public Enemy became too cost-prohibitive to secure rights for. With the movement of rap from a fringe genre to one with mainstream credibility, record labels began to invest less in upcoming artists, effectively stifling smaller-budgeted independent acts and preventing them from experimenting with samples in any ground-breaking fashion.[11] Like other parts of the movement which Public Enemy started, their musical style fell by the wayside and became a casualty of hip hop's increasing corporate demeanor.[12]
Singles
It Takes a Nation of Millions featured four singles and three music videos, including "Bring the Noise", which was previously included on the soundtrack for the 1987 film Less Than Zero and met with critical acclaim.[16]
- write on specific songs, as opposed to "lyrical content" which will deal with broader issues
title to come
put some human interest bullshit here to make the reader happy, nobody wants to digest something as heavy as this album's content without some relief... critical reception? significance to rap/rock? fluff about chuck d?
dois to track down
- Kopano, Baruti N. (2002). "Rap Music as an Extension of the Black Rhetorical Tradition: 'Keepin' it Real'". Western Journal of Black Studies. 26 (4).
fulltext
- Corbett, John (1990). "Free, Single, and Disengaged: Listening Pleasure and the Popular Music Object". ) Similarly, rap sampling and scratch have reintroduced vinyl surface noise into the mainstream musical picture, even on CD. For two glowing examples of recent music shaking the standardized technology of recording and playback to its epistemological roots, hear Mark Stewart and the Mafia's LP As the Veneer of Democracy Starts to Fade (Mute Records, 1985) and Public Enemy's "Terminator X to the Edge of Panic," on It Takes a Nation of Millions To Hold Us Back (Columbia, 1988). 98
- Butler, Paul (April 2004). "Much Respect: Toward a Hip-Hop Theory of Punishment". ISSN 0038-9765. In the late 1980s, mainstream rap music took two divergent directions. Many artists addressed political issues, "resulting in the most overt social agenda in popular music since the urban folk movement of the 1960s." A classic album of this era is Public Enemy's It Takes a Nation of Millions to Hold Us Back. n40 Chuck D, the group's lead singer, described rap as the "Black CNN."
- Keyes, Cheryl L. (1996). "At the Crossroads: Rap Music and Its African Nexus". ) Public Enemy's music, which is masterminded by the Bomb Squad (a production team composed of Hank Shocklee, Eric Sadler, and others), implemented dissonant sonorities-booming bass guitar and kick (bass) drum sounds, interlocking speech and music rhythms, and a boisterous, aggressive rap style-as best exemplified in Kyra Gaunt's transcription (1993) of "Fight the Power". 237-238
- Bollig, Ben (2002). "White Rapper/Black Beats: Discovering a Race Problem in the Music of Gabriel o Pensador". Latin American Music Review. 23 (2). ) Public Enemy influenced songs" are interspersed with sirens, gunshots, car sounds, and crowd noises, thus creating a texture of conflict and violence. 169
- Rice, Jeff (February 2003). "The 1963 Hip-Hop Machine: Hip-Hop Pedagogy as Composition". College Composition and Communication. 54 (3). ISSN 0010-096X. Some of the most complex and intriguing examples of the "whatever process" in digital sampling can be found in Public Enemy's It Takes a Nation ofMillions to Hold UsBack, Digable Planets' Reachin' (A New Refutation of Time and Space), Grandmaster Flash's "The Adventures of Grandmaster Flash on the Wheels of Steel," and the Beastie Boys' Paul's Boutique. 454 [James] Brown's through an aggressive back beat configured interest in Black Power re-emerges in Ice-T's by cut-and-pasted sound selections. "Power," Salt N Pepa's "Solo Power (Syncopated Soul)," and Public Enemy's "Fight the Power." Public Enemy's song remains one of the best examples of hip-hop's interest in unequal power relations. Sampling Brown's "Funky President" and "Funky Drummer," the "I" of Bob Marley's "I Shot the Sheriff," and numerous other sources, Public Enemy shifts musical power from mainstream studio production to the compact digital sampler. 464
- Greg, Dimitriadis (May 1996). "Hip Hop: From Live Performance to Mediated Narrative". Popular Music. 15 (2). ISSN 0261-1430. Public Enemy's next album, It Takes a Nation of Millions to Hold Us Back, however, was quite different from Yo! Bum Rush the Show. Note that the more personal 'me' from 'Raise the Roof' has been replaced here by the more inclusive 'us', reflecting the album's encompassing black nationalistic theme. Their political agenda became more pronounced on this second release as evinced by track titles such as 'Rebel Without a Pause', 'Prophets of Rage', and 'Party for your Right to Fight'. Indeed, Chuck D and Flavor Flav wed a pro-black stance with Nation of Islam ideology on 'Party for your Right to Fight' as well as on others, such as 'Bring the Noise'. Terms such as 'devil' and 'Asiatic' abound throughout, referencing the intricate genesis beliefs preached by Nation founders W.D. Fard and Elijah Muhammad. The Nation of Islam became a pronounced force in rap at this point in time, its blend of militancy and pro-black ideology finding enthusiastic support among many young Afro-Americans. Public Enemy's radical new conception of the idiom as a nation building force was intrinsically a part of their new and innovative uses of mass-disseminated technology. Unlike most early rap albums, It Takes a Nation of Millions to Hold Us Back is not a collection of singles. Rather, It Takes a Nation is structured as a 58- minute self-contained radio broadcast, its individual songs linked together along conceptual lines. Tracks are interspersed with portions of a UK concert, static, the sound of a radio dial turning, and bits and pieces of radio shows. Communication itself became most important as Public Enemy envisioned an Afro-American community which could be linked together through postmodern media technology. Thus, their second release marked a shift in the rap aesthetic. Community performance and entertainment on a decentralised scale gave way to worldwide mediation by and through centralised recording media. Rap became, in short, an idiom which could create solidarities beyond the boundaries of face-to-face communication. 186
- ) Today, a politicized naturalism is more likely to be found in black film, such as John Singleton's Boyz N the Hood, and, of course, in gangsta rap, such as the dada vorticism of Public Enemy's It Takes a Nation of Millions to Hold Us Back, or in the rap-meets-poetry movement. 9
- ) But it is also time to "fight the power," as Public Enemy knows-the power of media control. In their classic rap "Don't Believe the Hype," Public Enemy indicates that the primetime media are afraid of rap's message and consider it both offensive and dangerous. 222
- Irving, Katrina (May 1993). "'I Want Your Hands on Me': Building Equivalences Through Rap Music". Popular Music. 12 (2). ISSN 0261-1430. If Public Enemy's album It Takes a Nation of Millions to Hold Us Back can top the Village Voice critics' Pazz and Jop awards for 1988, despite its castigation of the white man, we must ask where do these critics - predominantly white and male as they are - find a point of entry into this discourse? It seems that it can be plotted along one of two axes. First, an equivalence is built between white males and black males through the denigration of 'woman', who is set up as both other and contemptible. Male rappers and rap critics - both popular and academic - collude in producing a rampantly sexist discourse which constructs 'woman' as inferior and counter to the revolutionary cause. The construction of the male rapper's self appears to necessitate a virulent put-down of the black woman. To take one of myriad examples, Public Enemy's rap 'She Watch Channel Zero' asserts: I know she don't know, I quote, Her brains retrained by a 24-inch remote Revolution a solution for all our children But all her children don't mean as much as the show. As Vince Aletti puts it: 'rap has become increasingly preoccupied with the extended put-down, the "serious dis". . . . But when a fe-male enters the picture, the putdown suddenly takes a sexual turn and the language can get rough' (Aletti 1986, p. 78). The second chain of masculinist equivalence is created through the music's subversive impulse. Rap critics anxious to identify with its 'revolutionary' impulse either ignore its misogynistic and reactionary elements or hastily explain them away. After chronicling the regressive elements of Public Enemy, Tate, for example, decides that: 'For now swallowing the PE Pill means taking the bitter with the sweet and if they don't grow up, later for they asses' (Tate 1988, p. 71). As a feminist, however, given the influence of rap in academic as well as 'popular' circles (the 1989 Popular Culture Convention lists several panels which discuss the use of rap as a pedagogical instrument),7 I wonder whether we - that is, women - can wait for 'later for they asses'. 114 It is evident from these examples that rap can create an equivalence between the white male critic's discourse and that of the black male through its construction of an inferior subject position for woman which is also, as shown in Public Enemy's lyric quoted above, counter to the revolutionary cause. Misogynistic discourse becomes the basis for equivalence-building. 114
- Hunter, Tera (Winter 1989). "'It's a Man's Man's Man's World': Specters of The Old Re-Newed in Afro-American Culture and Criticism". ISSN 0161-2492. Public Enemy "slugs out the hardest and most militant rap around," but the rappers bring with them leftover aspects of cultural-nationalism qua 1960's sexism with a ven- geance. Their heroes are Martin Luther King, John Coltrane, Marcus Garvey, Elijah Muhammed, and Louis Farrakhan. Their enemy is not only white, but she is also black and female. Public Enemy constructs women characters who embody, and ultimately are held most accountable for, the ills of the race. Listen to the cut "Sophisticated Bitch." Or try "She Watch Channel Zero?!": ... There's a 5 letter word / To describe her character / But her brains being washed by an actor . .. 2, 7, 5, 4, 8 she said / All added up to zero / Because I know she don't know, I quote / Her brains retrained / By a 24 inch remote / Revolution a solution / For all our children / But all her children / Don't mean as much as the show, I mean / Watch her worship the screen, and fiend / For a TV ad .... The woman in these lyrics is depicted as a self-centered zombie whose soap opera viewing precludes the possibility that she is a thinking person. A scolding male voice in the background maligns the woman for watching garbage and entreats her to read books on black culture instead. Yet without any apparent sense of contradiction, this same man wants to claim the tube for himself to watch more important shows-like football (a team with a black quarterback) or the Mike Tyson fight! Juxtapose Public Enemy's representation of women with those of black men, and a far more complex picture contexualizes the latter. In "Night of the Living Baseheads," "Message to the Black Man," or "Black Steel in the Hour of Chaos," drug dealers and crooks are depicted with empathy, despite the fact that the group articulates disdain for certain forms of criminal behavior. The artists direct their anger at the system that produces the conditions leading black men to violate laws. No such oppressive social order exists for black women. The only other characters who are dogged more than females are (white) devils, the CIA, the FBI, and rock critics. The group has also been known to express homophobia and antisemitism. In the final analysis, the emanci- patory promise of political hiphop is stifled by Public Enemy's ironic displacement of its nemesis. 248
- ya Salaam, Mtume (1995). "The Aesthetics of Rap". ) Public Enemy. I t Takes A Natio Of Millions To Hold Us Back. 1988.At one time, Public Enemy was far and away the most popular and influential group in rap music. It Takes A Nation Of Millions, their second album, was for a long time considered the rap album by both critics and fans. Public Enemy pioneered a completely different sound by combining polyrhythmic drum samples and multi-layered horn squeals and whistles-a soundscape that was as distinctive and unrnistakable as it was new. Lead rapper Chuck D's lyrics, delivered in a charismatic, booming baritone, are almost exclusively pro-Black history lessons. Public Enemy was the first rap group to focus the music's potential on social change. Chuck D and his group members vowed to create 5,000 new black leaders by the year 2,000.Though the ultraviolent, often nihilistic social climate we now live in makes it seem implausible, Public Enemy's progressive social agenda along with the Bomb Squad's frenetically seductive beats made Public Enemy, for a time, the most popular rap group in the country. Now though, in 1995, having already weathered ex-member Prof. Griff's infamous anti-Semitic remarks, and comic foil Flavor Flav's numerous ironically drug-induced brushes with the law, Public Enemy's latest release Muse Sick In Our Mess Age appears to be falling on deaf ears. Nevertheless, I f Takes A Nafiun Of Millions remains an important and undeniable testament to the positive power that music can possess for social change. 313
- ) Mr. Stephney, who also co-produced the Public Enemy albums Yo! Bum Rush This Show and It Takes a Nation of Millions to Hold Us Back, describes their music as "politically conscious but not preachy." They make you realize that you don't have to be black and poor to be black and angry. 241
iz in bmp, nooooo!
- de Genova, Nick (1995). "Check Your Head". ISSN 0041-1191.
- )
- Gladney, Marvin J. (1995). "The Black Arts Movement and Hip-Hop". )
- Decker, Jeffrey Louis (1993). "The State of Rap: Time and Place in Hip Hop Nationalism". ISSN 0164-2472.
much too much, refer to pdf
- Henderson, Errol A. (January 1996). "Black Nationalism and Rap Music". ISSN 0021-9347.
- Rose, Tricia (1991). "'Fear of a Black Planet': Rap Music and Black Cultural Politics in the 1990s". The Journal of Negro Education. 60 (3, Socialization Forces Affecting the Education of African American Youth in the 1990s). )
- Quinn, Michael (1996). "'Never Shoulda Been Let out the Penitentiary': Gangsta Rap and the Struggle over Racial Identity". Cultural Critique (34). )
- Walser, Robert (1995). "Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy". )
- Tucker, Bruce (1992). "Untitled review; reviewed works: It Takes a Nation of Millions to Hold Us Back by Public Enemy, 3 Feet High and Rising by De La Soul". )
some crap
http://www.acclaimedmusic.net/061024/A721.htm
- Cheney, Charise L. (2005). Brothers Gonna Work It Out: Sexual Politics In The Golden Age Of Rap Nationalism. ISBN 081471613X.
- Wang, Oliver (2003). Classic Material: The Hip-Hop Album Guide. )
- ISBN 1560259159.
- ISBN 0465017681.
- Bonilla-Silva, Eduardo (2006). Racism without Racists: Color-Blind Racism and the Persistence of Racial Inequality in the United States. ISBN 0742546861.
- ISBN 0814766994.
- Freidlander, Paul (2006). Rock and Roll: A Social History. )
- Vincent, Ricky (1996). Funk: The Music, the People, and the Rhythm of the One. ISBN 0312134991.
- Dawson, Michael C. (2001). Black Visions: The Roots of Contemporary African-American Political Ideologies. ISBN 0226138607.
- Christgau, Robert (1989). "The Shit Storm". LA Weekly. Retrieved 2008-02-07.
- Tyrangiel, Josh (November 13, 2006), "The All-TIME 100 Albums: It Takes a Nation of Millions to Hold Us Back", TIME, retrieved 2008-02-16
{{citation}}: CS1 maint: date and year (link)
"it takes a nation of millions" - the offset is 30
newsbank
just fucking search it! and lexis too!
awol
- ISBN 0380811278.
- ISBN 0393047008.
- Emery, Andrew (2004). The Book of Hip Hop Cover Art. ISBN 1840009195.
- ISBN 1850652899.
- Strong, Martin C. (2006). The Essential Rock Disography. ISBN 1841958603.
- Kepel, Giles (1997). Allah in the West: Islamic Movements in America and Europe. trans. Milner, Susan. ISBN 0804727538.
- Holland, Sharon Patricia (2000). Raising the Dead: Readings of Death and (Black) Subjectivity. ISBN 0822324997.
- Levy, Joe; Van Zandt, Steven (2006), OCLC 70672814
- Ripani, Richard J. (2006), The New Blue Music: Changes in Rhythm & Blues, 1950-1999, ISBN 1578068622
- White, Armond (1995), The Resistance: Ten Years of Pop Culture That Shook the World, ISBN 0879515864
- AMG hip hop book, not music book - p. 390
- [2] - too many to save, 113 onwards
more crap
integrate this somewhere
- "Party for Your Right to Fight" is a rearrangement of the Beastie Boys' song, "(You Gotta) Fight for Your Right (To Party!)" (frequently referred to as: "Fight For Your Right to Party").
- The Vans shoe company released Public Enemy shoes for their Vans Supreme line of premium shoes. On the soles of the shoes is written; "It Takes a Nation of Millions to Hold Us Back."
Track listing
| # | Title | Time | Producers | Samples cite! |
|---|---|---|---|---|
| 1 | "Countdown to Armageddon" | 1:40 | The Bomb Squad | |
| 2 | "Bring the Noise" | 3:46 | The Bomb Squad |
|
| 3 | "Don't Believe the Hype" | 5:19 | The Bomb Squad |
|
| 4 | "Cold Lampin' with Flavor" | 4:17 | The Bomb Squad |
|
| 5 | "Terminator X to the Edge of Panic" | 4:31 | Terminator X |
|
| 6 | "Mind Terrorist" | 1:21 | The Bomb Squad | |
| 7 | "Louder Than a Bomb" | 3:37 | The Bomb Squad |
|
| 8 | "Caught, Can We Get a Witness?" | 4:53 | The Bomb Squad |
|
| 9 | "Show Em Whatcha Got" | 1:56 | The Bomb Squad |
|
| 10 | "She Watch Channel Zero?!" | 3:49 | The Bomb Squad, Professor Griff |
|
| 11 | "Night of the Living Baseheads" | 3:14 | The Bomb Squad |
|
| 12 | "Black Steel in the Hour of Chaos" | 6:23 | The Bomb Squad |
|
| 13 | "Security of the First World" | 1:20 | The Bomb Squad | |
| 14 | "Rebel Without a Pause" | 5:02 | The Bomb Squad, Terminator X |
|
| 15 | "Prophets of Rage" | 3:18 | The Bomb Squad |
|
| 16 | "Party for Your Right to Fight" | 3:24 | The Bomb Squad |
|
Chart positions
Album
Album chart positions are taken from Billboard magazine (North America).[18]
| Chart (1988) | Peak position |
|---|---|
| U.S. Billboard 200 | 42 |
| U.S. Top R&B/Hip-Hop Albums | 1 |
Singles
Singles chart positions are taken from Billboard magazine (North America).[19] move these to the correct places
| Song | B-side | Chart (1988) | Peak position |
|---|---|---|---|
| "Bring the Noise" | "Are You My Woman?" | U.S. Hot R&B/Hip-Hop Singles & Tracks | 56 |
| "Don't Believe the Hype" | "Prophets of Rage" | U.S. Hot R&B/Hip-Hop Singles & Tracks | 18 |
U.S. Hot Dance Music/Club Play
|
21 | ||
U.S. Hot Dance Music/Maxi-Singles Sales
|
17 | ||
| "Night of the Living Baseheads" | "Cold Lampin' with Flavor" | U.S. Hot R&B/Hip-Hop Singles & Tracks | 62 |
| "Terminator X to the Edge of Panic" | |||
| Song | B-side | Chart (1989) | Peak position |
| "Black Steel in the Hour of Chaos" | "Caught, Can We Get a Witness?" (Pre Black Steel Ballistic Felony Dub) |
U.S. Hot R&B/Hip-Hop Singles & Tracks | 86 |
U.S. Hot Rap Singles
|
11 |
Notes
- ^ Brackett & Hoard 2004, pp. 661–662 track down specific text
- ^ Ashby 2006, p. 516
- ^ Hoye 2003, p. 54
- ^ Levy & Van Zandt 2006 harvnb error: multiple targets (2×): CITEREFLevyVan_Zandt2006 (help) track down specific text and page number
- ^ a b Cite error: The named reference
erlewinewas invoked but never defined (see the help page). - ^ Forman et al. 2004, pp. 307
- ^ Ripani 2006, p. 143 harvnb error: multiple targets (2×): CITEREFRipani2006 (help) track down specific text
- ^ Chang & Campbell 2005, p. 280
- ^ Friskics-Warren 2005, p. 184
- ^ a b Howard 2004, p. 274
- ^ a b Ross & Rose 1994, pp. 129–130 track down specific text
- ^ a b Watkins 2006, p. 117
- ^ Harrington & Bielby 2000, p. 247
- ^ Harrington 2002, p. 441
- ^ Perry 2004, p. 115 track down specific text
- ^ White 1995, pp. 82–83 harvnb error: multiple targets (2×): CITEREFWhite1995 (help) track down specific text
- ^ Chang & Campbell 2005, p. 263
- ^ Ashby 2006, p. 476
- ^ Allmusic editors 2006
References
i need locations
- Allmusic editors (2006), It Takes a Nation of Millions to Hold Us Back: Billboard Singles, )
- Ashby, LeRoy (2006), With Amusement for All: A History of American Popular Culture Since 1830, ISBN 0813123976
- ISBN 0743201698
- Butler, Nick (January 16, 2005), Public Enemy: It Takes A Nation of Millions to Hold Us Back, Sputnikmusic, retrieved 2008-10-04
{{citation}}: CS1 maint: date and year (link) - ISBN 031230143X
- Christgau, Robert (1988), Consumer Guide Reviews, retrieved 2008-10-04
- Codell, Barry (2008), "Record Report: Public Enemy", )
- Erlewine, Stephen Thomas (2003), Bogdanov, Vladimir (ed.), All Music Guide to Hip-Hop: The Definitive Guide to Rap and Hip-Hop, Backbeat Books, ISBN 0879307595
- Forman, Murray; ISBN 0415969182
- Fricke, David (December 15, 1988), "Public Enemy", Rolling Stone, retrieved 2008-11-06
{{citation}}: CS1 maint: date and year (link) - Friskics-Warren, Bill (2005), I'll Take You There: Pop Music And the Urge for Transcendence, ISBN 0826417000
- Harrington, C. Lee; Bielby, Denise D. (2000), Popular Culture: Production and Consumption, ISBN 063121710X
- Harrington, Joe S. (2002), Sonic Cool: The Life & Death of Rock 'n' Roll, ISBN 0634028618
- Howard, David N. (2004), Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings, ISBN 0634055607
- Hoye, Jacob (2003), VH1 100 Greatest Albums, ISBN 0743448766
- Jones, Chris (March 19, 2008), Urban Review - Public Enemy, It Takes a Nation of Millions to Hold Us Back, retrieved 2008-10-05
{{citation}}: CS1 maint: date and year (link) - Levy, Joe; Van Zandt, Steven (2006), OCLC 70672814
- NME editors (July 17, 1995), "Unknown", NME, p. 47
{{citation}}:|last=has generic name (help)CS1 maint: date and year (link) find author, title - Perry, Imani (2004), Prophets of the Hood: Politics and Poetics in Hip Hop, ISBN 0822334461
- Q editors (September 1995), "Unknown", Q, p. 135
{{citation}}:|last=has generic name (help)CS1 maint: date and year (link) find author, title - Ripani, Richard J. (2006), The New Blue Music: Changes in Rhythm & Blues, 1950–1999, ISBN 1578068622
- Ross, Andrew; Rose, Tricia (1994), Microphone Fiends: Youth Music & Youth Culture, ISBN 0415909082
- Scaruffi, Piero (1999), Public Enemy, retrieved 2008-10-04
- Schrodt, Paul (April 1, 2008), Public Enemy: It Takes a Nation of Millions to Hold Us Back, retrieved 2008-10-04
{{citation}}: CS1 maint: date and year (link) - Watkins, S. Craig (2006), Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement, ISBN 0807009865
- Weisbard, Andrew; Marks, Craig (1995), Spin Alternative Record Guide, ISBN 0679755748
- White, Armond (1995), The Resistance: Ten Years of Pop Culture That Shook the World, ISBN 0879515864
needs uncommenting