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Public Enemy in 1988

Public Enemy

Photo: Michael Ochs Archives/Getty Images

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Public Enemy's "Fight The Power": 7 Facts fight-power-7-facts-behind-public-enemys-anthem-grammy-hall-fame

"Fight The Power": 7 Facts Behind Public Enemy's Anthem | GRAMMY Hall Of Fame

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Zero in on how one of rap's most influential groups closed out a decade with a timeless protest anthem
Nate Hertweck
GRAMMYs
Mar 2, 2018 - 3:51 pm

"1989 …"

Public Enemy's Flavor Flav and Chuck D come in hard right from the first words of the group's culture-shifting hip-hop anthem, namechecking the year of its creation as the social, racial, and political backdrop for the bold rebuke to come. What follows is one of music's most potent musical statements of any era or genre — a sound and a fury that landed "Fight The Power" in its rightful spot in the GRAMMY Hall Of Fame as part of the class of 2018.

The song's inception began when director Spike Lee approached Public Enemy about penning an anthem for his 1989 film, Do The Right Thing. Chuck D got right to work on a flight to Europe for a tour with Run D.M.C., during which he wrote most of the lyrics that, when set to a punchy Bomb Squad (Public Enemy's production team) track, became a fixture not only of music history but American culture.

More than an outpour of outrage, "Fight The Power" captured the urgency of racial tensions happening in both Lee's film and in the real neighborhoods of New York, in addition to announcing the group's refusal to be ignored.

Landmark moments like this one are no mistake. Here are seven insights into "Fight The Power" you might not have known.

1. Isley Inspiration

According to Chuck D, the song was inspired by the Isley Brothers' song of the same name that was released as a single in 1975. The message behind both songs is similar and the Isleys even went as far as to call racial oppression "bulls***," a bold move at the time that didn't stop the song from hitting No. 1 on the R&B singles chart. But Public Enemy's refresh dealt with abuse of authority on a whole new level of directness.

As Chuck D explained to Rolling Stone, "The challenge was, could we make something entirely different that said the same thing in another genre?"

Public Enemy were more than up to that challenge, but it's quite possible their anthem would have at least had a different hook were it not for the Isley Brothers' bravery.

2. Keep On Fighting

In June 1989 "Fight The Power" was released as a single from the soundtrack for Do The Right Thing, hitting No. 1 on the Hot Rap Singles chart. Public Enemy also included a different version of the song on their third studio album, 1990's Fear Of A Black Planet, a release that eventually sold over 2 million copies and cemented the group as voice of the hip-hop movement. The song has been widely used ever since as a protest anthem against social injustice far beyond the confines of Brooklyn, prompting Chuck D to call it  "the most important record that Public Enemy have done."

For The Record: Public Enemy's "Fight The Power"

3. Favor Flav's GRAMMY Moment

"Fight The Power" was nominated for Best Rap Performance for the 32nd GRAMMY Awards, though the trophy was ultimately awarded to Young MC's "Bust A Move." Never one to be outdone, Flavor Flav jumped onstage with Young MC uninvited, crashing his acceptance speech. "I'd like to thank Flavor Flav for breaking up the monotony of my acceptance speech,” Young MC noted.

For all his antics, Flav's role in Public Enemy was a deceptively brilliant one. The Roots' Questlove said it best when he placed "Fight The Power" at No. 8 on his Top 50 Hip-Hop Songs Of All Time list.

"Flavor Flav's bats***" crazy stance was used as bait (I fell for it) to attract the unaware. Once trapped inside, Chuck D's baptist preacher rapid-fire scream was the nail in the coffin. The best sweet and sour combo in hip-hop. Actually, the original contrary duo in hip-hop," wrote Quest. 

4. Sax Appeal

"I wanted to have a sax in the record but I didn't want it in a smooth, melodic fashion," producer Hank Shocklee of the Bomb Squad said, "I wanted someone to play it almost like a weapon, and Branford [Marsalis] was the guy." 

Indeed, Marsalis wields his sax in a most unusual way on "Fight The Power," thanks largely to Shocklee's inventive guidance.

"Hank did something that I'll never forget," said Marsalis. "He made me do one funky solo, one jazz solo and one just completely avant-garde, free-jazz solo. And I said, 'Which one them are you going to use?' And he said, 'All three of them motherf***ers,' and he threw all three up. And the s*** was killer. You had this Wall of Sound come in and the saxophones came in, and it was a Wall of Sound to accompany a Wall of Sound."

5. Not Their King

Perhaps the most explosive and controversial moment in the entire song comes when Chuck D's denounces Elvis Presley. "Elvis was a hero to most/But he never meant s*** to me you see," he snarls at the top of the third verse, before calling him a "straight-up racist." Later, Chuck D clarified the intent of the lyric was not to directly attack Presley personally, but rather to point out the gross inequity in the way our culture picks its heroes.

"Elvis and John Wayne were the icons of America. And they kind of got head-and-shoulder treatment over everybody else," Chuck D said in an interview with Rolling Stone in 2014. "It's not that Elvis was not a talented dude and incredible in his way, but I didn't like the way that he was talked about all the time, and the pioneers [of rock and roll], especially at that time, weren't talked about at all. When people said 'rock & roll' or 'the King,' it was all 'Elvis, Elvis, Elvis, one trillion fans can't be wrong' type of s***."

6. What About John Wayne?

Later on in the same verse Flavor Flav chimes in, addressing John Wayne with a similar detest as Presley. Evidently the intention of the lyric, while symbolic to a degree, was much more direct.

In that same 2014 interview, Chuck D said, "But as far as 'motherf*** him and John Wayne' ... yeah, f*** John Wayne to this minute [laughs]. John Wayne is 'Mr. Kill All the Indians and Everybody Else Who's Not Full-Blooded American.' The lyric was assassinating [Presley's and Wayne's] iconic status so everybody doesn't feel that way."

7. Bomb Squad Explosion

No anthem can be truly effective without being equal parts concept and feeling. For all its lyrical bombast, the hammer of "Fight The Power"'s message is swung by its beat. The Bomb Squad, Public Enemy's producer collective led by brothers Hank and Keith Shocklee, employed a myriad of samples, including Trouble Funk, the Dramatics and James Brown, and pushed the tempo 10 or so BPMs (beats per minute) faster than the common rap songs of the era, creating the perfect sonic vehicle for the song's social message.

The Bomb Squad's dense, meticulous and masterful production is further proof that all the right pieces must be in place for a song like "Fight The Power" to have a seismic, sustaining impact.

"Dream On": 7 Facts About Aerosmith's Classic Song | GRAMMY Hall Of Fame

Festivalgoers at FYF 2017

Festivalgoers at FYF 2017

Photo: Timothy Norris/Getty Images

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11 Must-Haves Essential For Any Music Festival music-festival-essentials-11-must-haves-apps-packs-more

Music Festival Essentials: 11 Must-Haves, From Apps To Packs & More

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Before you brave your favorite music festival, use our handy checklist to make sure you make the most of your experience
Nate Hertweck
GRAMMYs
Apr 11, 2018 - 5:34 pm

With Coachella's two-weekend party in the desert kicking off this weekend, music festival season is officially here. No matter what you're into, it's out there — from the Olympics of dance music at EDC to the hip hop/R&B gumbo at Essence and the hard rock heaven at Aftershock to the big general festivals like Lollapalooza and Austin City Limits that seem to have something for everyone.

Relive The Turn-Up At Ultra's 20th Anniversary

Before you hit the road, the train or the airport for the music celebration(s) of your choice this summer, we're here to tip you off on how to arrive in style, maximize your experience and stay safe and connected. Check out these 11 music festival essentials — don't leave home without 'em!

1. Water, Seriously

As always, safety comes first. You can be sure your festival experience will be a total drag if you get sidelined by dehydration. There are several ways to make sure you stay at 100 percent during a festival, but the easiest and most environmentally friendly way to carry the water you need is to pick up a Camelback pack (starting at $37). The distribution of weight allows you to carry more water more comfortably than in a bottle or container, and a quick sip is always easy to take when the sun starts beating down on you. Plus, Camelbak has started adding hydration stations at various festivals where they'll refill you for free! OK, water … check.

2. Never Skimp On The Sunscreen

Speaking of the sun, sunscreen is a must, otherwise your day two festival selfies will definitely pay the price. Make sure you're using at least 30 SPF, especially on your face. Also, don't forget the tops of your ears (if they're exposed) and the back of your neck. Remember: Even in overcast weather, the sun can get ya. So lather up out there. For tons of great options, check out Bustle's list of festival-friendly sunscreens (staring at $8).

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3. Don't Forget Your Plugs

And please don't forget the ever-important practice of hearing protection. Even a few minutes in front of a massive speaker array at a festival can do damage, so make sure you've got a nice pair of plugs ready. For the true music connoisseur, invest the time and money to get fitted, frequency balanced ear plugs, like these by ACS (generic fit starting at $14, custom fit starting at $185). The custom mold will keep them comfortable all day long, and the frequency balance will ensure you're getting the full range sonic experience of the music, not that muffled, boomy sound with foam plugs, where all the high end disappears. As a bonus, ACS are one of the manufacturers who provide free custom ear molds for music professionals backstage at festivals around the country through MusiCares.

4. Pack A Backup Battery

This next necessity has become even more important than money in some ways — battery life. Because your phone is your other brain, and it will probably be roaming much of the day (not to mention the photos, texts, posts to social) your battery can and will die. Fortunately, there are many options for calling in some backup without resorting to a charging station retreat. The Anker Powercore 10000 ($28) scores well in size and weight. The Morphie Powerstation 5x ($42) is preferred by some for its long-term durability. Jakery also makes the affordable Mini ($13) and reliable Bar ($20) models worth picking up.

For another nifty option, consider this handy Solar Charger ($23), which charges with the sun and can also store enough power to charge most phones twice on a single charge (in case it's cloudy). In addition, this one also has a built-in LED panel on the back, which can be a handy flashlight at the campsite, or when you've dropped your phone in the dark while trying to plug it in.                                                  

5. Shazam It

People, it's 2018! If you're not ready to capture a great song and find out what it is before it's gone, you're living in the past. Not only does the Shazam app (free for the basic app, $3 for premium) allow you to discover the music you're enjoying as you hear it, but it can provide lyrics, connect to YouTube videos, notify you of new releases, and integrate with your Spotify and Apple Music accounts. Shazam also provides the data that helps shape festival trends based on what fans are digging organically, a phenomenon we covered at SXSW. So get the app, and if you hear something you like, hold up your phone up and get the deets.

6. Scheduling Apps To The Rescue

Another valuable app that can be used for festivals is Wunderlist (free). Built to organize our lives, Wunderlist can help you make sure you hit every set on your wishlist by setting up a schedule with reminders. When used in conjunction with locator apps like Find My Friends (free), and Find Your Car With AR (free), your day at a festival will run smoothly, you'll cover more ground, remember to keep your meet-up times with friends, and make sure you aren't wandering the parking field for hours looking for your buddy's jalopy at the end of the night.

7. Make It App-ficial

Another totally indispensable app you should download is the festival's official proprietary app. The big festivals have done this best, including Coachella, Ultra and Lollapalooza (all free), whose apps are shining examples of how tech can enhance the festival experience. All the stage schedules, vendor maps and real-time notifications put you a step ahead of the frenzy surrounding you. Two years ago, this came in very handy when Lollapalooza had to be evacuated due to inclement weather. Their app was able to let tens of thousands of people know immediately when it was time to move, and exactly when the coast was clear and the fun could resume.

8. Style Matters

Getting dressed to impress for a music festival should be fun. You can experiment with style in ways you can't at school, at your job or even a night out. Dig deep into your inner style child and try something you've always wanted to try — here's some inspiration from Elle. And whatever you do, don't forget to accessorize. Hats and sunglasses are very in this year. Lulus online only store offers very boho and modern, perfect for the Chella gal look (dresses starting at $20). For additional current must-have fashion ideas, including this year's freshest batch of Unicorn Dust, check out US Magazine's 2018 Coachella packing list.

9. Let's Talk Shoes

Maybe the most important decision you make while standing in front of your closet before a festival is which shoes to wear. With so many considerations — comfort, color, style, temperature — the choice isn't always easy. Here are a couple crucial keys to keep in mind. First off, your feet will most likely get stepped on, so close toes are recommended. Also, weather plays a huge roll. Will it get chilly? Will it get wet? It might be tempting to go carefree with flip-flops or sandals, but it's really best to stay basic here, with something like these platform sneakers from Steve Madden ($79) or a basic pair of low top Chucks from Converse (starting at $40). Pro tip: It's probably best to leave your newest pair of kicks at home, because they will definitely get wrecked.

10. Merch Me

Let's be honest, merch tents at festivals can be overwhelming. It's not like stopping by the T-shirt table after the encore on your way out the door of a local show — you have dozens of bands and festival branded merch to consider, and typically a huge number of people all pushing in line to buy that last medium-sized limited edition Phoenix tee at the same time. But remember, for a lot of artists — especially those still building their fanbase — merch sales and connecting with fans at festival merch booths can make a huge difference. No one's nailed this better over the past two decades than Warped Tour with their endless rows of tents where fans can pick up merch and, in many cases, meet the artists, who are usually sweaty from being fresh off the stage. Consider supporting the up-and-coming acts you love — or just discovered — at festivals. Also, if you brought the wrong clothes, forgot your sunnys or desperately need a hoodie, merch tents can be a lifesaver.

11. Open Mind For Discovery

Last, but certainly not least, it's easy to overlook the biggest upside of festivals: artist discovery. The tickets probably cost you an arm and a leg, you probably sat in traffic, parked a mile away, and waited in a long line at the gate to get in, but once you make it through the gate there are bands and artists all around you who have devoted their lives to their art. Listen to every band you can, even if just for one song. Sure, you want to make it to the main stage early to get a prime spot for your favorite artist, but remember: that artist wasn't always your jam! You had to discover them somehow.

Think of all your favorite before-they-were-cool stories of being the first of your friends to dig this band or that rapper after seeing them in a tiny club, or opening for a touring headliner no one listens to anymore, or on a festival side stage playing to nine people at 11:45 a.m. before they made it big.  Slow down and give these passionate musicians a chance to blow your mind, and you might be surprised.

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Dr. Dre

Dr. Dre

Photo: Jason LaVeris/FilmMagic

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Meet The GRAMMY Hall Of Fame Class Of 2018 david-bowie-whitney-houston-dr-dre-recordings-added-grammy-hall-fame

David Bowie, Whitney Houston, Dr. Dre Recordings Added To GRAMMY Hall Of Fame

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Recordings from Johnny Cash, Billie Holiday, Jimi Hendrix, the Rolling Stones, Queen, Nirvana, and Aerosmith also added to the Hall, now in its 45th year
Renée Fabian
GRAMMYs
Jan 16, 2018 - 6:30 am

Each year the GRAMMY Hall Of Fame celebrates a class of outstanding recordings at least 25 years old that exhibit qualitative or historical significance. To continue its ongoing commitment to preserving and celebrating timeless recordings, the Recording Academy has announced the class of 2018 recordings added to the Hall.

  

Recordings honored include Whitney Houston's unforgettable 1992 cover of Dolly Parton's "I Will Always Love You"; Dr. Dre's groundbreaking 1992 debut rap album, The Chronic; Public Enemy's 1989 hip-hop classic, "Fight The Power"; Aerosmith's 1973 power ballad, "Dream On"; Nirvana's influential 1991 LP, Nevermind; and David Bowie's 1969 time-traveling track "Space Odyssey."

Dr. Dre's 'The Chronic': 25 Years Later

Queen's fourth studio album, A Night At The Opera (1972), the Rolling Stones' chart-topping "Paint It Black" (1966), Johnny Cash's seminal Johnny Cash At Folsom Prison (1968), Linda Ronstadt's fifth studio album, Heart Like A Wheel (1974), Motown group the Four Tops' single "I Can't Help Myself" (1965), and Gladys Knight & The Pips' classic "I Heard It Through The Grapevine" (1967) each made the list.

Also earning a spot in the 2018 class is Jimi Hendrix's album Band Of Gypsys (1970), Sam Cooke's classic single "Bring It On Home To Me" (1962), Parliament's infectious track "Flash Light" (1978), Andy Williams' smooth interpretation of "Moon River" (1962), Billy Paul's ballad "Me And Mrs. Jones" (1972), and Leon Russell's iconic "A Song For You" (1970).

Representing jazz, the King Cole Trio's 1946 song "(I Love You) For Sentimental Reasons," Billie Holiday's 1937 version of "My Man" and Louis Armstrong & His Hot Five's 1927 track "Savoy Blues" have been inducted.

South African trumpeter/singer Hugh Masekela's track "Grazing In The Grass" (1968), Thomas Alva Edison's original recording of "Mary Had A Little Lamb" (1878), Delta blues singer Arthur "Big Boy" Crudup's "That's All Right" (1949), and English musician Mike Oldfield's debut album, Tubular Bells, (1973) round out this year's Hall honorees.

Each year recordings are reviewed by a special member committee comprised of eminent and knowledgeable professionals from all branches of the recording arts, with final approval by the Recording Academy's National Board of Trustees. With these 25 new titles, the Hall, now in its 45th year, currently totals 1,063 recordings and is on display at GRAMMY Museum L.A. Live.

"The GRAMMY Hall Of Fame strives to embody the changing climate of music throughout these past decades, always acknowledging the diversity of musical expression for which the Academy has become known," said Neil Portnow, President/CEO of the Recording Academy. "Iconic and inspiring, these recordings are an integral part of our musical, social and cultural history, and we are proud to have added them to our growing catalog."

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The 60th GRAMMY Awards will take place at New York City's Madison Square Garden on Sunday, Jan. 28. The telecast will be broadcast live on CBS at 7:30–11 p.m. ET/4:30–8 p.m. PT. 

Aretha Franklin in 1970

Aretha Franklin in 1970

Ron Howard/Redferns/Getty Images

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Artists Who've Amplified Social Justice Movements aretha-franklin-public-enemy-heres-how-artists-have-amplified-social-justice-movements

From Aretha Franklin To Public Enemy, Here's How Artists Have Amplified Social Justice Movements Through Music

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We also examine powerful protest songs from Mahalia Jackson, Harry Belafonte, Pete Seeger, Bob Dylan, James Brown and N.W.A
Ana Monroy Yglesias
GRAMMYs
Jul 2, 2020 - 10:39 am

The year 2020, as difficult (and deadly) as its been for so many, has become a moment of reckoning. The nation is facing the shutdown and health crisis of coronavirus, pervasive acts of racist violence against unarmed Black people, and countless injustices for people of color, LGBTQI individuals and women and those within the intersectionality of these identifies. Today, in this climate of social unrest, powerful protest music of the past resonates once again.

As we stand in this pivotal moment, let's look back on some of the songs and moments that defined the civil rights movement and beyond, as Black artists and allies reflected the dire need for justice and inclusive representation, and protestors took their music to new heights.

Mahalia Jackson

Known as the Queen of Gospel, Mahalia Jackson is credited as one of the first artists to take gospel music out of the church. She used her powerful voice to record a massive catalog of religious music during her career, choosing to never dip her toes in secular music. Jackson befriended Martin Luther King Jr. at the 1956 National Baptist Convention and later performed before many of his speeches, in Selma, Montgomery and, most famously, immediately before his famous "I Have A Dream" speech at the March on Washington for Jobs and Freedom in 1963, which she directly inspired.

She was the final musical guest during at the March, singing "How I Got Over," a powerful gospel song, popularized by the Famous Ward Sisters, about overcoming racial injustice. Not only did the song have deep resonance with the Black audience members, it was Jackson herself who moved King to improvise the most famous "dream" passage of his speech. According to King's adviser Clarence Jones, Jackson shouted out; "Tell them about the dream, Martin! Tell them about the dream!" King pushed his notes to the side and Jones told the person next to him, "These people out there, they don't know it, but they're about ready to go to church."

Given its power, Jackson sang the song many times during her career, earning a GRAMMY for Best Soul Gospel Performance at the 1977 GRAMMYs for it.

Did You Know That Dr. Martin Luther King, Jr. Won A GRAMMY?

Aretha Franklin

18-time GRAMMY winner Aretha Franklin was one of the many successful soul and gospel singers inspired by Jackson and the path she paved, even performing at her funeral in 1972. The Queen of Soul got her start in music singing in her minister father's church. It was there where Franklin was introduced to civil rights activism. While many of her most beloved hits were covers, she had a unique power to reimagine a song all her own and resonate with so many. "Respect," originally recorded by Otis Redding in 1965, is one of these, which became her first No. 1 hit when she released it in 1967. A powerful anthem asking the listener for "a little respect," it became a protest song for both the feminist and civil rights movements of the time. As Pacific Standard states, "it captured a cultural moment Franklin had herself been fighting to achieve."

The outlet also notes that "Chain Of Fools," an original song, followed in 1967 as another feminist anthem, but found new meaning among Black U.S. soldiers fighting "a white man's war" in Vietnam. In 1972, Franklin recorded a rousing rendition of Nina Simone's 1969 civil rights anthem "Young, Gifted and Black," giving her album the same name, a powerful symbol of Black pride. That same year, Franklin later released live gospel album, Amazing Grace, including renditions of "How I Got Over" and "Amazing Grace." "Respect," "Chain Of Fools, "Young, Gifted and Black" and "Amazing Grace" all earned Franklin GRAMMY wins, evident of how deeply they resonated with America.

'Black Gold' At 50: How Nina Simone Refracted The Black Experience Through Reinterpreted Songs

Harry Belafonte

At 93, Jamaican-American actor, singer and activist Harry Belafonte has been a powerful force and barrier-breaker in U.S. culture since the '50s. Inspired by the emerging social justice-minded folk music of the turn of the century, he made it his life mission to "sing the song of anti-racism," as he said in 2017, to use his voice to highlight the music of the oppressed. Seeing Woody Guthrie perform lit this fire within the Harlem-born artist, inspiring him to visit the Library of Congress in Washington, D.C. to listen to Alan Lomax's field recordings.

His third album, 1956's Calypso, was led by one of his most beloved songs, "Banana Boat (Day-O)," a call-and-response Jamaican folk song sung by dock workers (he spent part of his childhood living with his grandmother there). His version took the U.S. by storm, hitting No. 5 and inspiring five other artists to cover it, who all earned Top 40 hits in 1957. The album, as its title suggests, was filled with upbeat calypso music, a genre with roots stemming from those enslaved by the 17th century Caribbean slave trade. At a time when Elvis Presley and other White rock artists ruled, Belafonte's Calypso outsold both of his records that year, spending thirty-one weeks on top of the Billboard 200.

Belafonte also became a pivotal member of the civil rights movement, as a close friend of King, performing at many of his events and offering financial support to fund voter-registration drives, Freedom Rides and even the March on Washington. "I was angry when I met [King]. Anger had helped protect me. Martin understood my anger and saw its value. But our cause showed me how to redirect it and to make it productive," Belafonte writes in his 2011 memoir.

Pete Seeger

"For Mr. Seeger, folk music and a sense of community were inseparable, and where he saw a community, he saw the possibility of political action," the New York Times wrote in Pete Seeger's obituary in 2014. "His agenda paralleled the concerns of the American left: He sang for the labor movement in the '40s and '50s, for civil rights marches and anti-Vietnam War rallies in the '60s, and for environmental and antiwar causes in the '70s and beyond."

In the '50s, the folk artist adapted "We Shall Overcome" with several other activist, including Zilphia Horton, who taught an updated version of the gospel spiritual "I'll Overcome" to union organizers. Seeger's version became an important rallying cry of the civil rights movement. Many other activist/artists of the time recorded and sang the powerful song at various events, including Jackson and folk acts Peter, Paul and Mary and Joan Baez, the latter who sang it during the March on Washington.

Seeger always used his music to speak up on the big issues of the time; in 1941 he wrote "Talking Union" with members of The Almanac Singers (both acts recorded it), "an almost literal guide to union-building," as Time put it. During Vietnam and the Cold War, respectively, he released anti-war anthems "Waist Deep in the Big Muddy" (1967) and "Where Have All The Flowers Gone" (1955). The latter has been covered many times over the years by Earth, Wind & Fire, Dolly Parton and more, with folk/pop act Kingston Trio's 1962 version first hitting the mainstream and reaching the Top 40.

Bob Dylan

"How many roads must a man walk down / Before you call him a man?" a 21-year-old Bob Dylan begins on his beloved 1963 song, "Blowin' In The Wind," another anthem of the civil rights movement. It is the opening track of his second album The Freewheelin' Bob Dylan, which also features "The Death of Emmitt Till," "Oxford Town," "Masters of War" and other explicitly political songs examining injustices of the time.

Like Belafonte, he was inspired by Guthrie's political brand of folk, but it was his then-girlfriend, Suze Rotolo (pictured on The Freewheelin' Bob Dylan album cover), who moved him towards activism and playing political rallies. He wrote "The Death of Emmitt Till" in 1962, about the Black teen that was brutally murdered by White men for alleged whistling at a White woman, shortly before singing it at a fundraiser for the Congress of Racial Equality, which Rotolo was involved with.

During the March on Washington the next year, Dylan performed several songs, including "Only a Pawn in Their Game," which he had recently written about the civil rights activist Medgar Evers killed just months earlier. He also performed the heart-breaking song at a voter registration rally for Black farmers in Mississippi later that year. In January 1964 he would release the track on his next album, another socially conscious project, this one earning a GRAMMY nomination, The Times They Are A-Changin'.

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James Brown

In August 1968, a year before Simone released "Young, Gifted & Black" and just four months after King was assassinated, the Godfather of Soul James Brown delivered the funky Black pride anthem "Say It Loud – I'm Black And I'm Proud." As UDiscoverMusic notes, "The tone of the civil-rights movement had so far been one of a request for equality. Brown, however, came out defiant and proud: he isn't asking politely for acceptance; he's totally comfortable in his own skin. The song went to No. 10 on the Billboard [Hot 100] chart and set the blueprint for funk. Like later Stevie Wonder classics of the '70s, it was a political song that also burned up the dancefloor; an unapologetic stormer that would influence generations."

In 2018, on 50 years after the song's release, Randall Kennedy, a Black law professor at Harvard, explained the power of the song in that moment, and today: "It was precisely because of widespread colorism that James Brown's anthem 'Say It Loud, I'm Black and I'm Proud' posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues."

The iconic song recently saw a massive boost in streaming numbers as part of Spotify's Black Lives Matter playlist.

Black Pride Anthems From Kendrick Lamar, Childish Gambino, 2Pac, James Brown & More See Big Streaming Spikes

N.W.A, Ice Cube & Dr. Dre

When N.W.A released "F*** Tha Police" in 1988, their hometown of Compton, in South Los Angeles, was rife with police brutality and racial profiling. One of the hardcore rap group's most controversial songs, it struck a chord with in their community, as well as with other Black people living in over-policed inner-cities around the country and frustrated youth of all colors. Directly denouncing the police's abuse of power, the song was largely condemned by the mainstream, causing the group to receive a cease-and-desist letter from FBI and to be arrested for playing it at a Detroit show in 1989, as shown in the Straight Outta Compton biopic.

"We had lyrics. That's what we used to combat all the forces that were pushing us from all angles: Whether it was money, gang-banging, crack, LAPD. Everything in the world came after this group," Ice Cube said in an interview. "We changed pop culture on all levels. Not just music. We changed it on TV. In movies. On radio. Everything. Everybody could be themselves. Before N.W.A … you had to pretend to be a good guy."

In 1992, Rodney King was brutally beaten by LAPD officers who were later acquitted, sparking the 1992 Los Angeles uprising. This not only highlighted the truth and urgency of N.W.A's lyrics, it further solidified it as a rallying cry against the daily violence and racism Black people across the country faced. That year, Ice Cube released his third solo album Predator, along with its biggest hit, the laidback "It Was A Good Day." As HuffPost notes, "he raps about how to cherish moments like chilling with your homies to enjoying your mom's food to NOT get harassed by the police." Dr. Dre followed with his 1debut solo album The Chronic in 1994, and on "Lil' Ghetto Boy" he and Snoop Dogg rap about the dark challenges faced by a formerly incarcerated Black man on parole, powerfully sampling Donny Hathaway's 1972 classic "Little Ghetto Boy."

"Fight The Power": 7 Facts Behind Public Enemy's Anthem | GRAMMY Hall Of Fame

Public Enemy

New York political hip-hop outfit Public Enemy originally recorded "Fight The Power" at the request of then-emerging filmmaker Spike Lee, for his 1989 film Do The Right Thing. It plays a prominent role in the poignant film that explores racial tensions in Brooklyn's Bedford-Sty neighborhood, as the only song character Radio Raheem plays from the boombox he proudly carries at all times. As HipHopDX writes, the song is "indisputably a call to action, [as] Chuck [D] commanded people to stand up against systematic oppression." "Elvis was a hero to most / But he never meant sh*t to me you see / Straight up racist that sucker was / Simple and plain. / Mother f*** him and John Wayne / 'Cause I'm Black and I'm proud," Chuck D raps with authority, both calling out White heroes and nodding to a Black hero, the Godfather Of Soul.

The powerful track finds inspiration from both Brown and the Isley Brothers, who released a song called "Fight The Power" in 1975, it also takes direct influence from them. According to Genius, it features around 20 samples, including Brown's "Say It Loud" and "Funky President (People It's Bad)," and interpolates The Isley Brothers' song. "I wanted to have sorta the same theme as the original 'Fight the Power' by the Isley Brothers and fill it in with some kind of modernist views of what our surroundings were at that particular time," Chuck D explained. The music video (watch above) begins with news footage from the March on Washington, followed by Public Enemy organizing their own march and rally in Brooklyn.

The song was released on the film soundtrack and on their 1990 album, Fear Of A Black Planet, on which they also called out racism in Hollywood and in the police on "Burn Hollywood Burn" (featuring Cube and Big Daddy Kane) and "911 Is A Joke," respectively. This summer, Public Enemy returned with the fiery "State Of The Union (STFU)," calling out the rampant racism of the current White House administration.

How Black Trans Artists Are Fighting To Achieve Racial Justice & Amplify Queer Voices

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Beyoncé at 2020 BET Awards

Beyoncé at 2020 BET Awards

Photo: BET Awards 2020/Getty Images

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Watch Beyoncé Accept 2020 BET Humanitarian Award watch-beyonc%C3%A9-dedicate-bet-2020-humanitarian-award-those-marching-fighting-change

Watch Beyoncé Dedicate BET 2020 Humanitarian Award To Those "Marching & Fighting For Change"

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Michelle Obama presented the honor to her friend, saying, "You inspire me, you inspire all of us"
Ana Monroy Yglesias
GRAMMYs
Jun 29, 2020 - 1:33 pm

Yesterday, June 28, Beyoncé joined the virtual presentation of the 2020 BET Awards, to accept the Humanitarian Award and offer a powerful speech. The seven-and-a-half-minute segment, which you can view in full below, also included former First Lady Michelle Obama, who presented the award and a video detailing the many philanthropic initiatives the honoree has led with her BeyGOOD Foundation and more.

According to Pitchfork, Chance the Rapper, Nipsey Hussle, John Legend and Quincy Jones have been past recipients of the Humanitarian Award.

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— The Beyonce World (@beyonceW0RLD) June 29, 2020

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"She's always turning up, looking out and making us a little bit better, a little more fierce and she's doing it all while staying devoted to her children and the loved ones she holds dear," Obama said. "You inspire me, you inspire all of us."

Obama's speech was followed by the video detailing the extensive work Queen Bey has done giving back in her hometown of Houston and beyond. Beyoncé and Twitter CEO Jack Dorsey, through their nonprofits, collectively donated $6 million to various orgs fighting COVID-19 and supporting mental health, both focused on communities of color. BeyGood's coronavirus work helped open a wing at Houston Memorial Hospital, as well as offer mobile testing and food supplies. It also supported the National Alliance On Mental Health for their on the ground work supporting communities of color in New York, New Orleans, Houston and Detroit.

In the video, we heard from Tina Knowles-Lawson, Treyvon Martin's mother, the director of BeyGOOD, Homecoming Scholarship recipients and others. The scholarships are given to Black students in the U.S., especially those going to HBCUs (historically Black colleges and universities). In partnership Global Citizen and Tyler Perry, BeyGOOD has also launched fellowship programs in Africa to support young people there.

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Beyoncé was up next, looking stunning with natural makeup, a diamond choker and strapless black dress. She used her speech to celebrate those taking action in protests around the country, encouraging everyone to not give up and to please vote.

"I want to dedicate this award to all of my brothers out there, all of sisters out there, inspiring me, marching and fighting for change. Your voices are being heard and you're proving to our ancestors that their struggles were not in vain. Now we have one more thing we need to do to walk in our true power, and that is to vote. I'm encouraging you to continue to take action, continue to change and dismantle a racist and unequal system.

We have to continue to do this together, continue to fight for each other and lift each other up, because there are people banking on us staying at home during local elections and primaries happening in states across the country. We have to vote like our life depends on it, because it does. So please continue to be the change you want to see."

Beyoncé: Justice For Breonna Taylor Would Demonstrate The Value Of A Black Woman's Life

Her poignant words were followed by the trailer for her upcoming Disney+ film, Black Is King, featuring music from her 2019 Lion King: The Gift album. During the show, the "Formation" singer also earned the BET Her Award for "Brown Skin Girl," a track featuring daughter Blue Ivy Carter, Wizkid and Saint Jhn from the The Gift album.

The broadcast was filled with other powerful moments, including Public Enemy opening the show with a 2020 update on their still pertinent 1989 classic "Fight The Power," with support from Nas, Black Thought, Rapsody, YG and more. Another moving performance critiquing police brutality came from DaBaby and Roddy Ricch rapping "Rockstar," with DaBaby beginning the set on the ground as a white man dressed as a police officer kneeled on his neck, evoking the brutal killing of George Floyd by Derek Chuavin.

Houston Rappers Talk George Floyd's Musical & Community Legacy

Alicia Keys delivered the first-ever live performance of her touching new track "Perfect Way To Die," Jennifer Hudson brought chills with Nina Simone's "To Be Young, Gifted & Black" and Anderson .Paak and Jay Rock delivering "Lockdown," among other epic musical moments. Watch more via BET's YouTube here.

"Fight The Power": 7 Facts Behind Public Enemy's Anthem | GRAMMY Hall Of Fame

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