notes in "Public Enemy: Power to the People and the Beats," the Civil Rights Movement did not change living conditions for many black Americans:
The famous Civil Rights movement, which began in the fifties with Martin Luther King and reached a climax in the late sixties with the spread of the Black Panther Party, in reality failed to bring a significant improvement in the living standard for the oppressed black minority within the United States."
Public Enemy rejects at least some of the teaching of the Civil Rights Movement, including the notion that people are all the same, implying that there are a special set of problems and circumstances suffered by blacks that need to be addressed specifically. Chuck D. pleads for awareness of this crucial truth, thereby taking a much more radical approach to racial issues that had been accepted by mainstream society. Certainly, other voices existed in the societal discussion of race relations, but more moderate, and some might say meek, voices prevailed. "Fight the Power" is taking a much more uncompromising view of the situation and the action needed to remedy it.
In the final verse of "Fight the Power," Public Enemy takes on the white establishment by denigrating some of its most revered heroes:
Elvis was a hero to most
But he never meant ***** to me you see
Straight up racist that sucker was Simple and plain
Mother ***** him and John Wayne
Cause I'm Black and I'm proud
There are few popular culture icons more beloved than Elvis, and Chuck D. literally spits his name out in disgust in this verse. He draws attention to a radical notion: not everyone idolizes a singer who "borrowed" his vocal style and dance moves from black artists who toiled in obscurity while Elvis made millions. Chuck D. also attacks John Wayne, who is styled as the classic good guy who saves white American from savage influences. As...
The System:" "If Hollywood represented black men as Stepin Fetchit, it represented white men as John Wayne, a cowboy who shot down all of his troubles (which usually came in the form of American Indians)."
By rejecting both Elvis and another traditionally revered America icon, John Wayne, Public Enemy proclaims its true revolutionary stance. Chuck D's verse goes on to proclaim a type of verbal war on popular culture and its embracing of music that seeks to placate:
Don't worry be happy
Was a number one jam
Damn if I say it you can slap me right here Public Enemy resists the simplistic message of Bobby McFerrin's hit song and instead calls for more aggressive, more honest, more radical messages:
What we got to say
Power to the people no delay
To make everybody see
In order to fight the powers that be in "Fight the Power," Public Enemy combines politics, hip hop and anger to create a rap anthem that is aggressive and honest. After living in the shadow of the Civil Rights Movement and its message of getting along and nonviolent protest. The song takes on a radical stance, urging blacks to use their voices as weapons and to reject the status quo. Not only was the song radical it its message, but it also represents one the first times hip hop music was used to encourage political and social reformation.
References
Haupt, Adam. "Notions of rupture (or noise) in subculture." Accessed 16 March 2005. http://www.uwc.ac.za/arts/english/interaction/95ah.htm
M., Goran. "Public Enemy: Power to the People and the Beats." Accessed 16 March 2005. http://www.marxist.com/ArtAndLiterature/public_enemy_art.html
Mudede, Charles. "SHUT THEM DOWN: A History of Public Enemy vs. The System." Accessed 16 March 2005. http://www.thestranger.com/2004-09-02/ex3.html
