After this album, Cube would go on to full gangsta mode and not focusing too much on political commentary. Throughout 1996 He would ride with the West Coast in the escalating East/West war and collabed with Westsiders Mack 10 and W.C. to form the Westside Connection. The trio would take on all comers. Coming at the whole East Coast, Common Sense, Cypress Hill, and many others. It remains as one of the hardest hip hop albums to date.
Love from spain and thank you for this reminisce moments ( and sorry for my bad english ). I love 88-92 ice cube. The king of rap at that moment to me. Maybe i like more death certificate or even amerikkkas most wanted but the predator is a very solid album. No doubt about the greates hit on this , it was a good day sounds so good like the first time i hear it. 24 years later i enjoy more and more who got the camera one of the sickest intrumental ever. Thanks for your work man.
In the 1988 Public Enemy release "Party for Your Right to Fight" rap nationalist and lead lyricist Chuck D ushered in a new moment in Hip Hop history when he defiantly stated: "Power, equality and we're out to get it, I know some of you ain't with it. This party started right in '66, with a pro-black radical mix ..." (1) As a trailblazer of the consciousness movement within rap music, Chuck D claimed his legacy as the political progeny of the Black Panther Party. The Black Panthers, remembered by the Hip Hop generation as righteous revolutionaries, are deified and belong to an elite class of politicized "prophets of rage." They are black nationalists whose standard for black manhood is preserved and emulated. In fact, Chuck D told a Toronto Sun reporter in May 1998 that when he and his friends from Adelphi University entered the "rap game," they did so in a deliberate manner. "We wanted to be known as the Black Panthers of Rap, we wanted our music to be dissonant." (2) With songs like "Party for Your Right to Fight," "Fight the Power," and "Power to the People," these pioneers of rap nationalism purposefully invoked the rhetorical and political styling of the Black Panther Party and the Black Power Movement of the late 1960s, complete with its envisioning of black nationalism as a politics of masculine protest. Like their idols, Chuck D and his crew believed that they were the representatives of a "revolutionary generation," a group of endangered young black males considered by the state to be "Public Enemy #1." And as Public Enemy, Chuck D argued that it was black men's responsibility to "get mad, revolt, revise, realize" for black liberation; (3) for, as he stated on their 1990 album Fear of a Black Planet, "it takes a man to take a stand." (4) 2b1af7f3a8