Comments on: Library Of Congress saves Public Enemy http://entroporium.com/2005/04/library-of-congress-saves-public-enemy/ Internet home of Shawn Roberts and his weekly internet radio show Sat, 24 Mar 2012 01:15:26 +0000 hourly 1 By: King_Of_America http://entroporium.com/2005/04/library-of-congress-saves-public-enemy/comment-page-1/#comment-75 King_Of_America Mon, 18 Apr 2005 00:11:41 +0000 http://entroporium.com/wordpress/?p=94#comment-75 I agree wholeheartedly that Fear Of A Black Planet is a very important recording. Let me (re)state the reasons I thought this was a interesting, but imperfect pick: 1) As an example of sampling, it's pretty great and if that's what the Library was seeking to preserve, they've probably picked one of the Top Three ever. Personally, if we were looking for an apex or an epitome, I'd vote Paul's Boutique. 2) PE's political stance is/was deeply important, for sure. But it is/was deeply out of the mainstream. As a half-Jew (full disclosure), there's not a lot of question in my mind that there is a lot of anti-semitism on this record. On the other hand (and as I subtly point out in the illustration for this entry), Al Jolson in blackface was also part of the Library's selection this year. As far as political import combined with sampling, I'd take Fight The Power or Apocalypse 91 over Fear Of A Black Planet. Fight The Power absolutely epitomized what was going on in 1989, and Do The Right Thing was a really important look into the racial climate of that year. On a more broad palette, Apocalypse 91 addressed slavery, current events and black political activism in a more direct way; I'd take Can't Truss This over any of those, a truly majestic modernistic work about the lingering effects of slavery. Fear has some truly terrible tracks (Reggie Jax, Meet The G That Killed Me); the hit rate is much higher on Nation Of Millions and Apolocalypse. Fear doesn't even represent (by far) the best of PE. 1a and 2a) In terms of cultural historic import, to me Paul's Boutique tells an extremely compelling story about the Jews' indoctrination, adaptation to, adoption of and diaspora through mainstream American culture, more so than does Fear Of A Black Planet, which likely represented (and still represents) the views of a niche of a minority population. So if I'm in the Library panel, I'm rolling with Paul's Boutique In Brooklynnnnn. I hope if they continue to select sample-based music that perhaps they do so as "paired selections" to show the richness, complexity and importance of the art of sampling. When 3 Feet High & Rising gets selected, hopefully the original Turtles track will at least be added as an appendix. Or god forbid, Biz Markie and Gilbert O' Sullivan. I agree wholeheartedly that Fear Of A Black Planet is a very important recording. Let me (re)state the reasons I thought this was a interesting, but imperfect pick:

1) As an example of sampling, it’s pretty great and if that’s what the Library was seeking to preserve, they’ve probably picked one of the Top Three ever. Personally, if we were looking for an apex or an epitome, I’d vote Paul’s Boutique.

2) PE’s political stance is/was deeply important, for sure. But it is/was deeply out of the mainstream. As a half-Jew (full disclosure), there’s not a lot of question in my mind that there is a lot of anti-semitism on this record. On the other hand (and as I subtly point out in the illustration for this entry), Al Jolson in blackface was also part of the Library’s selection this year. As far as political import combined with sampling, I’d take Fight The Power or Apocalypse 91 over Fear Of A Black Planet. Fight The Power absolutely epitomized what was going on in 1989, and Do The Right Thing was a really important look into the racial climate of that year. On a more broad palette, Apocalypse 91 addressed slavery, current events and black political activism in a more direct way; I’d take Can’t Truss This over any of those, a truly majestic modernistic work about the lingering effects of slavery. Fear has some truly terrible tracks (Reggie Jax, Meet The G That Killed Me); the hit rate is much higher on Nation Of Millions and Apolocalypse. Fear doesn’t even represent (by far) the best of PE.

1a and 2a) In terms of cultural historic import, to me Paul’s Boutique tells an extremely compelling story about the Jews’ indoctrination, adaptation to, adoption of and diaspora through mainstream American culture, more so than does Fear Of A Black Planet, which likely represented (and still represents) the views of a niche of a minority population.

So if I’m in the Library panel, I’m rolling with Paul’s Boutique In Brooklynnnnn.

I hope if they continue to select sample-based music that perhaps they do so as “paired selections” to show the richness, complexity and importance of the art of sampling. When 3 Feet High & Rising gets selected, hopefully the original Turtles track will at least be added as an appendix. Or god forbid, Biz Markie and Gilbert O’ Sullivan.

]]> By: Tom http://entroporium.com/2005/04/library-of-congress-saves-public-enemy/comment-page-1/#comment-74 Tom Sun, 17 Apr 2005 11:19:15 +0000 http://entroporium.com/wordpress/?p=94#comment-74 Public Eneny, in my opinion were the most important rap group of the late 80s early 90s. They helped make hip hop mainstream while not just singing about cars, champagne and girls. Their political lyrics are just as important now as they were then. "Will future listeners even understand that these songs were built off of other recordings if those other recordings aren't preserved, too?" Maybe, maybe not. Most music fans think the white stripes for example have an original sound. People in general dont realize that the music of today, hip hop, rock, etc is rehashing of old music. You can make the arguement that there are only so many chords, and so many arrangements... Sampling is an important part of music history. Sampling became a tool for expression, just like any other form of music. De La Soul being sued by the Turtles for example is a major turn in music history. The National Registry will never be complete. You can argue for a ton of artist to be documented there. "But is it worth it if people can't hear the originals?" People need to educate themselves about music. The problem is most people dont care. Why do you think Brittney Spears or 50 cents or whoever sells millions of records? Your average person just dont doesnt have a personal relationship with music, and they have no need to go back and find the original sample or idea that may have been used or copied. I could go on and on...you get my point . Tom Public Eneny, in my opinion were the most important rap group of the late 80s early 90s. They helped make hip hop mainstream while not just singing about cars, champagne and girls. Their political lyrics are just as important now as they were then. “Will future listeners even understand that these songs were built off of other recordings if those other recordings aren’t preserved, too?” Maybe, maybe not. Most music fans think the white stripes for example have an original sound. People in general dont realize that the music of today, hip hop, rock, etc is rehashing of old music. You can make the arguement that there are only so many chords, and so many arrangements… Sampling is an important part of music history. Sampling became a tool for expression, just like any other form of music. De La Soul being sued by the Turtles for example is a major turn in music history. The National Registry will never be complete. You can argue for a ton of artist to be documented there. “But is it worth it if people can’t hear the originals?” People need to educate themselves about music. The problem is most people dont care. Why do you think Brittney Spears or 50 cents or whoever sells millions of records? Your average person just dont doesnt have a personal relationship with music, and they have no need to go back and find the original sample or idea that may have been used or copied. I could go on and on…you get my point . Tom

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