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Public Enemy has gone through many lineup changes over the years, with Chuck D and Flavor Flav remaining the only constant members. Co-founder Professor Griff left in 1989 but rejoined in 1998, before parting ways again some years later. DJ Lord also joined Public Enemy in 1998 as the replacement of the group's original DJ Terminator X. In 2020, it was announced that Flavor Flav had been fired from the group.[3] His firing was later revealed to be a publicity stunt that was called an April Fools' Day prank.[5][6] Public Enemy, without Flavor Flav, would also tour and record music under the name of Public Enemy Radio which consists of the lineup of Chuck D, Jahi, DJ Lord and the S1Ws.

According to the book The History of Rap Music by Cookie Lommel, "Stephney thought it was time to mesh the hard-hitting style of Run DMC with politics that addressed black youth. Chuck recruited Spectrum City, which included Hank Shocklee, his brother Keith Shocklee, and Eric "Vietnam" Sadler, collectively known as the Bomb Squad, to be his production team and added another Spectrum City partner, Professor Griff, to become the group's Minister of Information. With the addition of Flavor Flav and another local mobile DJ named Terminator X, the group Public Enemy was born".[citation needed] According to Chuck, The S1W, which stands for Security of the First World, "represents that the black man can be just as intelligent as he is strong. It stands for the fact that we're not third-world people, we're first-world people; we're the original people".[11] Hank Shocklee came up with the name Public Enemy based on "underdog love and their developing politics" and the idea from Def Jam staffer Bill Stephney following the Howard Beach racial incident, Bernhard Goetz, and the death of Michael Stewart: "The Black man is definitely the public enemy."[12]

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On April 1, 2020, it was revealed Flavor Flav's firing was a publicity stunt to gain attention and provide a commentary on disinformation, and Reuters claimed that Chuck D and Flavor Flav "concocted a fake split to grab attention and highlight media bias towards reporting bad news about hip hop".[5] In an interview with rapper Talib Kweli, Chuck D stated that the stunt was inspired by Orson Welles' 1938 radio drama "The War of the Worlds".[42] In response, Flavor Flav tweeted: "I am not a part of your hoax" and: "There are more serious things in the world right now than April Fool's jokes and dropping records. The world needs better than this...you say we are leaders so act like one".[43]

In his 2009 book, entitled Analytixz, Griff criticized his 1989 statement: "to say the Jews are responsible for the majority of wickedness that went on around the globe I would have to know about the majority of wickedness that went on around the globe, which is impossible ... I'm not the best knower. Then, not only knowing that, I would have to know who is at the crux of all of the problems in the world and then blame Jewish people, which is not correct." Griff also said that not only were his words taken out of context, but that the recording has never been released to the public for an unbiased listen.[63]

In Asheville, North Carolina a group of poets banded together with an alternative media portal, The Mountain Area Information Network, to produce a poetry festival, Asheville Wordfest 2008 (now, upcoming 2009), as a form a news media. We prefaced the festival with talks of the connections between poetry and journalism and presented poetry AS journalism. We did not demand any particular kind of aesthetic but rather presented all the poems as journalism. We tore the wall the down completely. Poets included: Patricia Smith, Fatemeh Keshavarz, Simon Ortiz, Galway Kinnell, and more. We broadcast the festival as news: live radio, live web. We'll soon have it up on public access TV. We're talking about it at a panel at AWP. People wanted a context for poetry beyond the classroom definition, which was very restricting. This made poetry relevant.

Covering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist.

Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).

It Takes a Nation of Millions to Hold Us Back [Def Jam, 1988]

Chuck D is so full of shit Chuck E can dis him: "You know Public Enemy are punk rockers, 'cause they bitch about rock crits and airwaves so much." To which I'll add: "And make art about conflicts with the law that as a scion of the middle class (albeit an Afro-American and a second-generation leftist) D's avoided in real life." That said, the leader gets points for oratory, political chutzpah, and concealing his own asininity. If I'd never encountered him and Professor Griff in the public prints, I'd still figure them for reverse racists--last cut boasts that "Black-Asiatic man" got here first as if he should therefore inherit the earth. But their "freedom is a road seldom traveled by the multitude" wouldn't in itself have clued me to their contempt for the black audience, because these dense, hard grooves are powered by respect: musically, no pop in years has reached so far while compromising so little. Bill Stephney, Hank Shocklee, and Terminator X juice post-Coleman/Coltrane ear-wrench with the kind of furious momentum harmolodic funk has never dared: the shit never stops abrading and exploding. Yet it holds fast, a revolutionary message D's raps have yet to live up to--which isn't to say that isn't a lot to ask or that they don't sometimes come close. I mean, me and Chuck E like punks--D's not the first talented asshole to front a great band. In fact, he's in a grand rock and roll tradition. A+

Vaulting over bank counter after bank counter like Douglas Fairbanks in the 1920 swashbuckler, The Mark of Zorro, thrusting his blue steel automatic weapon at one terrified bank teller after another, the legendary outlaw John Dillinger thrilled and terrorized America from 1933 to 1934. A desperado, a bank robber and a bad man no jail could hold, his reputation grew until he was named the country's first public enemy #1.

Narrator: The profession consisted of roaming the Midwest from bank to bank, hideout to hideout. Along with Bonnie & Clyde, Pretty Boy Floyd and other colorful desperadoes of the day, Dillinger captured the public's imagination.

Powers Because Hoover had invested so much of the Bureau's prestige in fingerprint identification, he would make sure that his publicist pointed out that fingerprinting had been involved. And then he would exaggerate it perhaps, and say fingerprinting was the way that Dillinger was actually identified.

Narrator: June was a month for celebrations. Dillinger had knocked off 15 banks and netted $300,000. on the day he turned 31 years old, Dillinger was named America's public enemy #1. Celebrating with him was a new flame, a prostitute named Polly Hamilton. John and Polly were staying with her madam, Anna Sage. But Dillinger was paying dearly for the pleasure. ff782bc1db