...Angela Spence Nelson Copyright © 1991 by Duke University Press 1991 Theology in the Hip-Hop ol Pub/it Enemy and Koo/Moe Dee Angela Spence Nelson The racial oppression of black people in many ways has fueled and shaped black musical forms in America. One example is the blues, which originated...

...William Eric Perkins Copyright © 1991 by Duke University Press 1991 Nation ol Islam Ideology in the Rap ol Public Enemy William Eric Perkins The racialism of the Negro is no limitation or reservation with respect to American life; it is only a constructive effort to build the obstructions...

...Donald A. Petesch Petesch , Donald A. A Spy in the Enemy’s Country: The Emergence of Modern Black Literature . Iowa City : University of Iowa Press , 1989 . Copyright © 1990 by Duke University Press 1990 96 BladtSoaetlMusic mercialization of jazz by whites, who felt they could...

... all his enemies under his feet. The last enemy to be destroyed is death-1 Cor. 15 :20-22, 25-26. Death is swallowed up in victory 0 death, where is thy victory? 0 death, where is thy sting? The sting of death is sin, and the power of sin is the law. But thanks be to God, who gives us the victory...

..." in prison, where they are further "used and abused till one day they are found hung, dead in a cell."6 The rap group Public Enemy also feels compelled to speak the truth, as illustrated in their "911 Is a Joke." Reportedly, Flavor Flav had a good friend who was shot, and when 911 Emergency Services...

... and created a white rap superstar with controversial fanfare !Vanilla Ice), and drawn its most militant voice from the suburbs (Public Enemy), its most faithful constituency remains the ghetto poor. Rap's origins in the black ghetto continue to influence most rapper's styles of delivery, rap's aesthetic...

..., the Fat Boys, DJ Jazzy Jeff and the Fresh Prince, and Tone Loe. DJ Jazzy Jeff and the Fresh Prince, for example, are two suburbanites from South West Philadelphia and Winfield. (For that matter, the most radical rap group, Public Enemy, are suburbanites from Long Island.) DJ Jazzy Jeff and the Fresh...

... movement were KRS-One and Boogie Down Productions, and Public Enemy. After losing their deejay, Scott LaRock, KRS-One and Boogie Down Productions launched a "Stop the Violence" campaign to redefine the mission of the movement. Alex Henderson, a writer for Black Beat, was told in an interview with KRS-One...

..., but such rappers as Chuck D of Public Enemy and KRS-One have been invited to lecture there on the philosophy and the culture of rap. Graduate students, in turn, have been researching, writing, and lecturing on rap, and in doing so have interested some of their professors in the emergen cy of black as seen through...

.... For this no doubt they found ample self-evident proofs in themselves and in those with whom they had to do. Their expressions would lead to the belief that they believed in a personal devil-as did Luther! Listen as they sing of their enemy: As I went down in the valley to pray, I met ole Satan on the way; An' what...

... is not a black artistic event." The title and the substance of Public Enemy's third album, Fear of a Black Planet, points directly at the fear among whites of the ghetto's "illegitimate sexualities" penetrating their neighborhoods and their bodies, not to mention their fear of the "spiritual peril" of what C. G...

... the Violence." Billboard 98 (November 8, 1986): 9. Dery, Mark. "Public Enemy Confrontation." Keyboard (September 1990): 81 - 96. Grein, Paul. "Rap Racks up Its First Platinum LP: Run-D.M.C. Leads July Charts." Billboard 98 (August 16, 1986): 4, 8r. Leland, John. "Armageddon in Effect." Spin (October 1988): 46...

... of surrendering all to Jesus is 'Tm Happy with Jesus Alone." About this piece Jones writes: "I would know nothing but Jesus. No name but His. No master but Him. No law but His word. No creed but Jesus. I [have] to be 'Happy with Jesus alone.' All else [is] trash to me." 8 While the worldly are "the enemies...

... marvel that these sons and daughters of fairly recently freed slaves, while facing the exigencies of an unresolved American dilemma, could sing such celebratory songs. How could they sing? How dared they sing? Why not really fight? If they must make music, then why not drum the war against their enemies...

... not theomusicological, Ogren's book typifies theomusicology's view of music as a transparency through which to peer at deeper ideas. Here, jazz is object, a window onto the theological imagination of America in the twenties, which is subject. Petesch, Donald A. A Spy in the Enemys Country: The Emergence of Modem Black...

...). As evidenced in his theology of nonviolence, King believed that the foundational principle that creates, orders, and sustains community is love-the love of God, neighbor, even enemy (142). For both King and Thurman, the church is summoned to demonstrate for society that the ideal community can be realized...

... lost our audience." Soon after that, the music critic on another Los Angeles paper wrote that "Today's Amercian composers, at best, encounter patron­ age rather than championship. And their greatest enemy is blank indifference." Surprising? Not to those of us who had long noted the trend and had been...

... Musi, Guns n' Roses, and comedian Andrew Dice Clay-all with acts featuring material deemed sexually explicit or otherwise objectionable to some complainants-have been neither banned nor arrested. In addition, other all-black rap acts-Public Enemy, Ice-T, NWA (Niggaz With Attitudes)-have been singled...

..., and unqualified commendation for the singing of its chorus. II But with Emancipation, when the Negro became a political factor in national affairs, his enemies, in their determination to defeat and minimize his achievements, seized upon the one thing most effective in destroying favorable sentiment, and which...

... praises are limited to a few scattered references to Run-DMC and Public Enemy (the latter a group whose complex controversiality might have offered a more engaging stage for a consideration of the multiple political valences of hip-hop). The final chapter, "Hybridity, Rap, and Pedagogy for the 1990s...