Formed in Long Island, New York, the U.S. hip hop group Public Enemy emerged from a DJ sound system called Spectrum City DJs, founded by Hank Shocklee in 1975. Although the sound system originally consisted only of Shocklee and his brother Keith, the group eventually added rapper Chuck D, DJ Mellow, who later became Terminator X, and Professor Griff, the security team leader for the Spectrum City DJs’ mobile parties and a member of the Nation of Islam (NOI).
In 1979, Chuck D and others from the group who attended Adelphi University in Long Island began hosting a hip hop show on the local college radio station WBAU where they regularly created their own DJ mixes. Later, a fellow student who called himself Flavor Flav joined the show as a host and soon thereafter joined the Spectrum City DJs crew as well. In 1984, Spectrum City played a demo on the radio for a song titled Public Enemy No.1, which inspired the group’s name. The band also adopted a political message inspired by the hip-hop activist and journalist Harry Allen, a fellow student at Adelphi. The concept emphasized the group’s African American roots and adopted some of the narratives of various past Black political movements.
Album cover for It takes a nation of millions to hold us back
In addition to the performance group known as Public Enemy, a separate production team called “The Bomb Squad” was formed around Hank and Keith Shocklee in the 1980s; they worked not only for Public Enemy but also for other hip hop musicians including Slick Rick and Ice Cube. Part of Public Enemy’s sonic aesthetic, crafted primarily by The Bomb Squad, has been the copious use of samples and noise. For instance, their album It takes a nation of millions to hold us back (1988) uses saxophone samples in many songs that act in tandem with the lyrics to counter the code-structuring messages found in popular music conventions. Public Enemy’s examples, in this context, are comparable to the use of dissonance in the music of jazz legends such as Duke Ellington and Thelonious Monk. Public Enemy created noise with saxophone squeals, erratic drums, and countless scratches on a recording that influenced numerous hip hop artists and stands today as one of the most critically lauded albums in the genre. Their use of saxophone samples as a strategy of creating noise is representative of ideals contrary to conventional Western musical practices and as a bridge to African American musical practices and suppressed voices of the past.
Read the new entry on Public Enemy in MGG Online and “We wanted our coffee black: Public Enemy, improvisation, and noise” by Niel Scobie (Critical studies in improvisation/Études critiques en improvisation 10/1 [2014]). [RILM Abstracts of Music Literature, 2014-91911].
Below is a 2011 performance of Fight the power.
