"Fight The Power" Video Shoot
Rapper Flavor Flav, director Spike Lee and Chuck D of the rap group 'Public Enemy' film a video for their song 'Fight The Power' directed by Spike Lee in 1989 in New York, New York.
Michael Ochs

Music Sermon: How 'Fight The Power' Saved Public Enemy

It was “1989, the number, another summer,” and in New York City, the racial tension was thick as the season’s heat. For New York, it wasn’t just “another summer” - 1989 was a defining year for the city, and for its black and brown youth. The swift persecution of five black and brown boys for the Central Park Jogger attack, with little evidence, is in the national conversation today, but divided the city along racial and class lines that spring. The August murder of 16-year-old Yusuf Hawkins by a group of teens in Brooklyn’s Italian-American Bensonhurst neighborhood sparked protests across the city. In the middle of these two events, both of which are tightly woven into the fabric of New York, Spike Lee released one of his most provocative films: the prophetic Do the Right Thing.

At the time, Lee intentionally chose Public Enemy, the most radical group in rap, to set the movie’s tone. Their seminal anthem “Fight the Power” was not only one of hip-hop’s most monumental songs, but also Gen X’s first taste of movement music. The group’s 1988 album It Takes a Nation of Millions to Hold Us Back was unlike anything anyone had ever heard in music, let alone the still very new rap genre. Public Enemy’s sophomore album combined the tight flow of battle rappers, the spirit and energy of the Black Power movement, and the aesthetic presentation of the Black Panthers with their paramilitary backing group, Security of the First World (S1W), all packaged up with a logo featuring a black man in a sniper’s crosshairs (can you imagine all of that today? The “If a white group did that…” comments would be insufferable). PE didn’t just start the conscious rap movement, they sparked the gangsta rap movement – NWA’s Straight Outta Compton was directly influenced by Nation of Millions (Chuck sent an early copy of the album to the group, and you feel the inspiration in “F*ck the Police” especially. Along with the defiant social commentary in the lyrics, Dre channeled The Bomb Squad’s sonic chaos in the track. Cube went on to work with The Bomb Squad for his solo debut).

“When I wrote the script for Do the Right Thing, every time when the Radio Raheem character showed up, he had music blasting,” Lee told Rolling Stone. “I wanted Public Enemy.”

But at the time of the movie’s release, PE had technically broken up; sidelined by controversy impacting their reputation not just domestically, but abroad. On June 29, one day before Do the Right Thing hit theaters, Russell Simmons announced: ''Public Enemy is disbanding for an indefinite period.”

THE STORM

Public Enemy was made up of distinctively different personalities: Chuck D, the leader, the voice, and the “adult” of the group; Flava Flav, the blueprint for hip-hop hype men and comedic levity to Chuck’s booming gravity; and Professor Griff, the “Minister of Information,” a black Muslim who didn’t actually observe any of the tenants of Islam but subscribed to the most incendiary rhetoric The Nation of Islam offered. As the Minister of Information, Griff sometimes spoke publicly on the group’s behalf and had been known to stir up controversy with comments that were just over the line, but not far enough to cause a mainstream firestorm. Then, on May 22, 1989, he sat down with reporter (and later writer for The Wire and Treme) David Mills for an interview with The Washington Times. Because he was talking to another black man, Griff got way into his bag, and sh*t went left, quickly.

“Griff opined that ‘the majority of them [i.e., Jews]’ are responsible for ‘the majority of the wickedness that goes on across the globe,” recounted LA Times rock critic Robert Cristgau in his summation of the controversy, properly titled “The Sh*t Storm.” “He… raved about how ‘the Jews finance these experiments on AIDS with black people in South Africa,’ observed that ‘the Jews have their hands right around Bush's throat,’ and concluded that he must be speaking the truth because if he wasn't the Jew who owned CBS would long since have forced him, Griff, out of the group.” It was a mess, but it still flew largely under the radar until the story was picked up by The Village Voice (pours out liquor). You know how the timeline gets when there’s controversy? Imagine that in real life amongst the music community and media.

Even the most esteemed music critics had praised Nation of Millions, many even included the LP on their 1987 Album of the Year lists. Now they were being called on to defend or condemn the group they’d once praised.

Nelson George was one of the lone hip hop writers at the time aside from Harry Allen (which is why you will always find Nelson George references in my work), and as a black man in a space where we were still fighting for voice and position, he was careful to distinguish Griff’s comments from what the group stood for. "There's no question they say Farrakhan's a prophet," George told the LA Times at the time, "but Chuck D was very specific about what they like about Farrakhan. That Prof. Griff is a (jerk) doesn't invalidate the record. And Public Enemy was signed by Rick Rubin, who is Jewish, and one of their first managers is Jewish, as is the photographer that shot most of their album cover pictures, and (so is) their publicist Bill Adler."

Chuck was torn. He first backed Griff, then seperated the group’s stance from Griff’s personal stance, then banned Griff from speaking on behald of PE, before finally condemning Griff and apologizing for his comments, stating: “We’re not anti-Jewish or anti-anyone at all. We're pro-black. To use the same mechanism that you're fighting against definitely is wrong. We don't stand for hatred. We're not here to make enemies. We're apologizing to anyone who might be offended by Griff's remarks.” Griff was expelled from the group on June 21, 1989.

The continued pressure from the Jewish Defense Organization – including calls to boycott Do the Right Thing, Def Jam and Columbia/CBS, who distributed the group’s albums, and Rick Rubin even though he wasn’t involved with the group anymore – finally wore Chuck out. He told Kurt Loder during an MTV interview that the group was done. ''He (Griff) transferred misinformation, and it was just wrong. You can`t back it,” he explained. “But we got sandbagged, and being as I got sandbagged, the group is over as of today. We`re outta here. We`re stepping out of the music business as a boycott . . . against the music industry, management, record companies (and) the industry retailers.”

In Robert Cristgau’s earlier-referenced article, written shortly after that MTV interview, he opined of PE’s future: “…it's reasonable to hope that three or six or nine months down the road, after Spike Lee returns to the set and Chuck's label flops and Flavor Flav staggers under the weight of his own album, PE will regroup.”

Instead, it only took about a month. “Fight the Power” became a hit; The song and movie combined birthed one of the biggest cultural statements of the decade.

THE ANTHEM

Spike told Hank Shocklee (of The Bomb Squad, Public Enemy’s famed production unit) and Chuck he wanted an anthem, but already had an idea in mind. “Spike originally proposed a rap version of a negro spiritual, “Lift Every Voice and Sing,” to be produced by someone else and with just Chuck D rapping,” Shocklee told the Guardian. “I was like: ‘No way.’” Hank found an example right out of Do the Right Thing’s world to make his point. “We were in Spike’s office on DeKalb Avenue in Brooklyn, by a busy intersection. I pulled down his window, stuck his head out, and was like: ‘Yo man, you’ve got to think about this record as being something played out of these cars going by.’” Spike knew he wanted the power of Chuck’s voice, but Chuck and Shocklee knew that the moment called for something bigger, sonically. Gen X is now considered a generation without a social movement. Boomers were engaged in the Civil Rights Movement, Millennials led Black Lives Matter, Gen X’ers were chillin’ - except we weren’t. Police brutality, the overcriminalization of black and brown people (hi, stop-and-frisk), the rise of the crack epidemic… these were our issues, and hip-hop was our movement: our way to give voice to the systemic injustices and bleak realities black people faced daily.

With “Fight the Power,” Chuck, Hank Shocklee and the Bomb Squad captured the energy of black resistance in a rare, perfect way – sonically and lyrically. It sounded aggressive, it sounded urgent, it sounded defiant, it sounded confident. It was the protest music of black Gen X’ers. “The song could have gone a lot softer, a lot neater, a lot tighter – but it would have lost the chaos,” Shocklee went on to explain. “When something is organized and aligned, it represents passivity. But any resistance, any struggle to overcome, is going to be chaotic. So the hardest part was making sure the track wasn’t monotonous. Lots of the samples appear only once, and a lot of stuff isn’t perfectly in time. I didn’t just want white noise and black noise – I wanted pink noise and brown noise!”

The title and thematic direction came from Ron Isley and his brothers’ 1975 song of the same name. The song struck a chord with 15-year-old Chuck D. Last year, Chuck and Ernie Isley (who, by the way, is the most criminally underrated guitar player in music history) compared notes on the two "Fight the Power's" for NPR: “I was 15 years old, so it was ingrained in me, but it was a record that I thought represented us. ‘I tried to play my music, they say my music's too loud’: That spoke loud to me,” Chuck shared with Ernie. “And I didn't even curse at the time, but that was the first time I ever heard a curse on a record.”

I can't play my music
They say my music's too loud
I kept talkin about it
I got the big run around
When I rolled with the punches
I got knocked on the ground
By all this bullsh*t goin’ down

Like the 1989 version, The Isleys’ joint catches you up in the undeniable bop of the track even while delivering power through the lyrics.

PE’s “Fight the Power” was also a big f*ck you to “American” pop culture, disparaging white icons Elvis and John Wayne, who in the late ‘80s were both damn near deified. It was a declaration that we black folks have our own history and culture.

'Cause I'm Black and I'm proud
I'm ready and hyped plus I'm amped
Most of my heroes don't appear on no stamps
Sample a look back you look and find
Nothing but rednecks for four hundred years if you check

A song that feels and sounds like Public Enemy’s “Fight the Power,” will never happen again, because the Bomb Squad’s trademark sampling methods would be a legal headache and financially crippling today thanks to changes in copyright laws spurred by the growing rap industry in 1991.
“It was a totally different process from today, when cats listen to a finished track then put rhymes on top – that separates emotion and content,” Shocklee shared when discussing how the song came to be. “All the samples have to work with Chuck’s emotion. We’d have to find something from all our hundreds of records to fill a second, and it all had to be done by ear, without computers or visual aids.”

THE MOVIE

I don’t think I’ve ever seen a song used as many times as “Fight the Power” is in Do the Right Thing. I can’t even tell you what other song is on the soundtrack without looking it up. Honestly, the entire soundtrack should have just been a “Fight the Power” maxi-single.
Also, shout out to one of the most iconic opening title sequences ever. It’s like James Bond level. Better.

The song and the movie are inextricably linked. As mentioned earlier, Spike wanted “Fight the Power” playing whenever we saw Radio Raheem. Since Raheem is the movie’s pivotal character, PE underscored some of the movie’s most powerful moments.

Shocklee explained to Rolling Stone why using Radio Raheem as the vehicle for the song worked so well. “The track intensified the story. When Radio Raheem was with the boombox playing that song, that’s what was happening at that time, exactly. You could have walked out the theater and into a pizza shop, and that would have happened at that moment.”

Even before they retreated into self-imposed career exile, Public Enemy weren’t radio artists. The film was their only real promotional vehicle for the single – but what a vehicle. “When I heard Spike Lee put it 20 times in the movie, I was like, pssh,” he shared with Rolling Stone. “We realized early that film was probably going to be our outlet to deliver sh*t. We couldn’t rely on radio.” While the group laid low, “Fight the Power” shot to No. 1 on the Billboard Rap chart and cracked the Top 20 on the Hip-Hop and R&B chart (Hammer would break down the barrier for rap on the Hot 100 and Pop charts about a year later). In August, PE came out of “retirement” to announce their renowned third album, Fear of a Black Planet.

THE VIDEO

The music video for “Fight the Power” goes down as one of the most satisfying visuals for a song, ever. In the history of music videos. It is the perfect accompaniment to the track’s energy and power. For the video, Spike created a modern-day version of the March on Washington in Brooklyn, which he called "The Young People's March on Brooklyn to End Racial Violence,” featuring Public Enemy. The march was Chuck’s idea, and Spike did the video as a favor, on the strength of them letting him use “Fight the Power” for free. If Chuck D wasn’t already firmly positioned as hip-hop’s political leader, watching him leading throngs of young people through Bed-Stuy did the trick. “It was like a rose really sprouted in Brooklyn,” he later shared about the day. “It was seriously a black movement of just being able to stand up and demand that the systems and the powers that be don’t roll you over. And this was a threat to America and it was a threat to the record companies at the time. That video was really powerful.”

Flav added, “That was one of the most craziest days of my life. But it was so amazing. It was my first time ever really doing a video shoot… (W)e had Jesse Jackson there, Al Sharpton was there, Tawana Brawley was in the video, too, as well. And the whole of Bedford-Stuyvesant…I would give anything to live that day one more time.”

Like the movie and the song, the video is on multiple “best of all time” lists.

While echoes of the controversy of 1989 followed PE through the early ‘90s, the sheer power of Fear of a Black Planet prevented it from slowing them down in any way. Nation of Millions blew the music community away, but Fear of a Black Planet surpassed it.

This has nothing to do with anything, really, except that I want y’all to peep how completely off the chain Flav is in this interview. Chuck and Fab 5 Freddie just gave up.

THE LEGACY

The legacy and impact of Do the Right Thing are perhaps immeasurable. The movie garnered two Oscar nominations, including Best Original Screenplay, was deemed one of the most important movies of the year, then later one of the most important of the decade, and is still largely considered to be Spike’s greatest and most complete work. It inspired a new generation of filmmakers, including John Singleton, who went home and wrote Boyz N The Hood after seeing the film. Radio Raheem’s boombox is on display at the Smithsonian National Museum of African American History and Culture (NMAAHC). “Fight the Power” is still one of the most important songs in hip-hop, has been inducted into the Grammy Hall of Fame, and is ranked by multiple lists as one of the greatest songs in music, period. Public Enemy went on to be inducted into the Rock n’ Roll Hall of Fame. But as I said before, the power is in the two - movie and song - together. It’s hamburger and bun. Peanut butter and jelly. Milk and cereal. Neither are as strong if they’d been presented to the world without the other.

In any other year, the movie and song just wouldn’t have hit the same. Do the Right Thing was one of the first “day-in-the-life” black movies that showcased the routine and connectivity of community - how we rely on each other, how we interact with each other, and the line between business owners integrating with the community and just making money from the community. “Fight the Power” came just as conscious rap was gaining a commercial foothold. Despite the group’s assumptions, the song did get radio play - lots of it. A year earlier, radio wouldn’t have been ready. A year later, the song wouldn’t have felt as special. Thirty years later, the movie and track aren’t just a snapshot of 1989, but they both still feel incredibly relevant and accurate. But without this partnership, the self-proclaimed Rolling Stones of hip-hop may have had an entirely different musical legacy - one smashed to bits the way Sal smashed Raheem’s boombox. Instead, they proved the galvanizing power hip-hop could have. 1989 was not just another summer; it sparked a hip-hop revolution.

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#MusicSermon is a weekly series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

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Courtesy of Lion King

Chiwetel Ejiofor Proves The Real Star Of The 'Lion King’ Is Actually The Villain

The bad guy makes the movie what it is. He tests the parameters of your empathy, understanding, and grace, forcing you to see what you’re made of.

This particular bad guy lets resentment fester and rumble in his belly, as his mighty and righteous brother merits admiration and reverence from faithful servants. When it comes to brains, he knows he has the lion's share, but it’s the permanent mark in the shape of a dagger slicing above his left eye that reminds him his brother is the sole proprietor of brute strength.

It's this same villain who deputizes himself among the others also tired of begging for whatever's left to orchestrate a felony so sorrowful, it plucks at your Adam’s Apple, pushing your screams and cries back into your throat because what’s done cannot be undone.

Chiwetel Ejiofor’s embodiment of the deceitful Scar is just that: a wondrous amalgamation of pain, defeat, rejection and will bursting onto the big screen in Disney’s live-action remake of the Lion King. Jeremy Irons’ 1994 version of the antagonist, while still deceptive, encapsulated a bit of theatrics and bounce. The only telltale sign of Scar’s venom was his flowing jet-black mane. Ejiofor’s 2019 portrayal is bloated with greed, anger and the need to control. The use of the word “bloated” is hyperbole, of course, as on-screen Scar is thin, almost emaciated and physically hungry for the dominance he feels he’s owed.

There’s no need to rehash the 25-year-old film. Moviegoers can be reassured to know director Jon Favreau stayed true to the movie’s heart. He often replicated important scenes detail for detail, including the quintessential opening sequence with the sun rising over the Pride Lands as zebras, antelope, rhinos and other wildlife assembled to meet and bow to the future king.

And while we know Mufasa dies, his live-action death stings even more.

As Hans Zimmer’s “To Die For” thunders, the wildebeest come running down into the gorge and your 10-year-old self tells Simba to run. Hope is still a possibility after Mufasa saves his cub and leaps from the stampede onto the rocks and climbs to the top. Then your 34-year-old self soothes your inner child, because what happens next—the grave offense Scar commits—is irreversible.

But what most miss about Scar, even after 25 years, is under all of his deplorable ways lies his one admirable quality: ambition.

Scar saw himself among the greats and envisioned a kingdom under his rule. He let nothing get in the way of his chosen destiny, including his weak older brother. Scar couldn’t and wouldn’t settle for being a knight, or a duke or a lord. Scar wanted to be king, so much so betrayal and murder were mere casualties in the race to rule Pride Rock.

Who among us has ever gone after our future with more reckless abandon?

Ejiofor understood this insatiable need to ascend to the greatness Scar believed he possessed, and he channeled that with his voice. The east-London native’s lilt took on whatever emotions needed to give way to Scar's true intentions.

Whether it be the flat, emotionless way he dismissed Simba into the den. (“I don’t babysit,” he sneers) or the way he let his words dangle in the air as he covertly described life as Mufasa's brother ("Others spend their lives in the dark...begging for scraps"), Ejiofor’s reinvention of Scar is more than just a voice over. It’s the inflated and arguably updated blueprint Irons left behind.

Ejiofor showed that to embody Scar meant more than reciting lines from a page. It meant whatever couldn’t be expressed through physical emotion seen on screen had to be demonstrated in the inflections, whispers, and passion of his voice. Scar’s lustful desire to outshine his brother and his brother’s memory was on full display whenever Scar was on screen and Ejiofor zeroed in on that, even from behind a microphone.

With fervor, and indignation Ejiofor’s portrayal of Scar proved why, without him, Simba would be nothing. Without Scar, Simba wouldn’t have to face his biggest foe or know how to. While Mufasa taught him compassion, loyalty, and love, Scar taught him to fight. Scar is a liar and a cheat and will stop at nothing to get what he feels rightfully belongs to him. And yet, as vile as Scar is, he's also the unintended teacher.

Ejiofor knew that deeper than his fury and his jealousy, Scar was more than just a bad guy. Scar was an instructor who made Simba and audiences examine themselves and Ejiofor’s performance underscores that. Does it feel good to give Scar his flowers? Of course not. I wouldn't spit on Scar even if he were on fire. But let’s face it, there would be no Lion King if Simba didn’t have to fight for his throne.

So to Scar and to all the bad guys who help us roar a little bit louder, thank you for the unintended lesson.

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Jonathan Exley

Michael Jackson's June/July 1995 Cover Story: 'ACTION JACKSON'

Editor's Note: This article originally appeared in the June/July 1995 issue of VIBE Magazine.

Michael & Me

Reporting By: Omoronke Idowu, Shani Saxon, Joseph V. Tirella, Josh Tyrangiel, and Mimi Valdés

JIMMY JAM, producer/songwriter (worked on HIStory album) Michael's the most intense person I've worked with. For him, everything is about the music and how to make it better. He also makes work a lot of fun. He's a kid at heart—his office is not like a normal office. He has all the kids' toys. A lot of times we'd be in session, in the middle of playing a video game, and he'd be, like, "Well, we got to do this. But go ahead and finish your game, though—I don't want to mess your game up."

The thing about Michael is his talent. If you put Michael onstage without the explosions and the other dancers, he'll still command the stage.

There's a song called "Childhood" on the new album, and I think for the first time, Michael has put a lot of his feelings on record. That song, for right now, defines where's he's at—the way he feels about himself and the way people feel about him.

HEAVY D, MC/label executive (rapped on "Jam," 1991) I was in California the first time I heard Michael Jackson wanted to record with me. I was, like, Nah, no way, he's too big, it can't be true. Then I got a call from Michael's people at my hotel telling me he was interested. But I still wasn't believing it—I thought they were setting me up for a TV practical jokes show.

So me and my partner go to the place, and while we were waiting we were talking and cursing up a storm—I was thinking that if it was a blooper show, they wouldn't be able to use it. Then Michael called and said he was on his way. When he got there he was just, like, 'Hey, how ya doin?'"

Michael's just as regular as everyone else. We talked about all the normal stuff guys talk about. He's real smart. People forget that he's the most incredible entertainer we've seen in our lifetime. His name is Michael Jackson, not Super Michael Jackson. He makes mistakes just like all of us.

My favorite Michael Jackson song is "Music and Me." It's an old one, about him and his music, his love for music, and the time they've had together. It's like a song that would be sung to a girl, but it's all about music.

R. KELLY, singer/songwriter/producer (worked on HIStory album) I thought it was funny when I told Michael Jackson I didn't want to fly, and he was giving me reasons why I should. I kept looking him in the eye, and I kept saying "uh-huh, uh-huh" and "oh, I see," knowing all the time that I would not be getting on a plane.

Working with Michael was definitely not just another day at the office.

KENNY GAMBLE AND LEON HUFF, producers (the Jacksons' Destiny album, 1978) Gamble: When we took Michael in the studio to overdub his voice, he had so many different ideas about songs, writing, and producing, I told him he could really record himself. He was very curious about a lot of things. He's a creative, spiritual, caring person.

Nineteen eighty-one's "Rock With You" is the most what Michael's about. I really believe he and Quincy have a magic together. Michael is a miracle.

Huff: When Michael and his brothers first came to Philadelphia, Gamble decided to walk them from the hotel to the studio. As they were walking, they were rushed by a group of girls. The brothers escaped by going into a movie theater. Once they made it to the studio, these girls camped outside the studio—and this was for a six-month period. To see 100 girls laying outside a studio at 3 and 4 in the morning for Michael and his brothers was something else.

My favorite Michael song? Nineteen eighty-seven's "Show You the Way to Go."

NAOMI CAMPBELL, supermodel/actress/singer (appeared in "In the Closet" video, 1992) Michael is very involved and on top of everything he puts his name on. He's shy and sweet, considering all he's accomplished, but he's a prankster. When I was doing the video, we had water pistol fights. He's a perfectionist.

TEDDY RILEY, producer (worked on Dangerous and HIStory albums) He's the greatest. Innovative. Black.

SLASH, Guns N' Roses guitarist (played on Dangerous and HIStory albums) He's a fucking brilliant entertainer, a complete natural. He's the only guy I've ever met that's real—for that kind of music. I grew up listening to the Jackson 5. I used to love "Dancing Machine."

We've been friends for a while, so he just lets me do what I want to do. I get a basic framework, and I just make up my part and they edit it. I wonder sometimes what it's gonna sound like, [Laughs] but every time, they do a great job. He's very shrewd. He's got a great, sarcastic sense of humor. People always ask me, "Is he weird?" Well, he's different. But I know what it's like to be weird, growing up in the music business.

I have to admit working with Michael Jackson is different than working with your basic, gritty rock 'n' roll band. One time when I went to play for Michael, he walked in with Brooke Shields, and there I am with a cigarette in one hand, a bottle of Jack Daniel's in the other, and my guitar hanging low around my neck. And he doesn't care. That's not the way he is, but I don't have to change for him. He accepts me for what I am.

TATUM O'NEAL, actress/friend I never worked with Michael, but he and I had a really wonderful friendship when I was 12 and he was 17. He used to dance with me, we'd talk on the phone all the time, and he'd say how funny it was that I was 12 and I could drive and he was older and couldn't. Michael used to come to my house when I was living with my dad, and I remember him being so shy. Once he came into my bedroom, and he wouldn't even sit on my bed. But another time when he was over, he played the drums, my brother played guitar, and someone else played another instrument, and we had a jam session. I had the tape of it, but I lost it somewhere.

When I was 12, he asked me to go to the premiere of The Wiz with him, and my agent at the time said it wasn't a good idea, maybe because they felt he wasn't a big enough star yet. He never talked to me after that. I think he thought I just canceled, but it wasn't me at all. I was a child doing what I was told. I want you to print that, because I don't think he ever knew that. I lost touch with him because of it, so I don't really know him anymore. But I love him; he's one of the nicest, most innocent people I've ever met. I love "She's out of My Life" because I think it describes our friendship at that time.

DALLAS AUSTIN, songwriter/producer (worked on HIStory album) Working with Michael is a different type of work. You're pressured timewise, but not by creativity or money. So you're left with mad freedom. You'd think he'd be very controlling, but if he likes you enough to work with you, he wants your expertise, not just another Michael Jackson record.

"Heal the World" and "Stranger in Moscow" from the HIStory record are, like, the makeup of Michael. I think he's taken on the responsibility to make changes in the world. He's the only real superhero. Think about it.

LISA MARIE PRESLEY-JACKSON, former wife Michael is a true artist in every facet of its nature—extremely aesthetic and very, very romantic. This is who he truly is despite degrading comments made in the past by certain larva.

Michael, as well as myself, have been severely underestimated and misunderstood as human beings. I can't wait for the day when all the snakes who have tried to take him out get to eat their own lunch and crawl back in the holes from which they came.

We know who they are and their bluff is about to be called.

QUINCY JONES, longtime collaborator/legendary producer Michael can go out and perform before 90,000 people, but if I ask him to sing a song for me, I have to sit on the couch with my hands over my eyes and he goes behind the couch. He is amazingly shy.

What people forget about him is that for the first time, probably in the history of music, a black artist is embraced on a global level by everyone from eight to 80 years old. People all over the world, especially young people, have a black man as an idol.

Reporting by Omoronke Idowu, Shani Saxon, Joseph V. Tirella, Josh Tyrangiel, and Mimi Valdés

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Courtesy of Disney

From The Big Screen To Hip-Hop: 25 Rap Lyrics Referencing 'The Lion King'

One of the most powerful aspects of hip-hop is the culture's ability to draw from reality and translate those feelings and experiences into the beats and rhymes that provide the soundtrack to our lives. However, in many instances, creatives have been inspired by fictional tales of perseverance and triumph that mirror the everyday struggles in our own lives, giving these stories additional significance and reminding us of our own valor. Twenty-five years ago, Disney's The Lion King would have this impact on a global level, opening a whole new world to people from all walks of life and becoming one of the most beloved films of all-time.

A coming-of-age story, The Lion King is centered around Simba, a young lion set to inherit the throne as King of Pride Lands from his father, Mufasa. In an act of betrayal, Simba’s father is tragically murdered by the cub’s paternal uncle, Scar. Simba, who is made to believe that he's responsible for his father's death, flees the Pride Lands and goes into a self-imposed exile, but is compelled to return to dethrone Scar and take his rightful place as king. Released on June 24, 1994, The Lion King was a massive success, grossing $766 million worldwide and finishing its theatrical run as the highest-grossing release of 1994 and the second-highest-grossing film of all time. It gained a considerable amount of critical acclaim for its score, comprised of original songs written by composer Elton John and lyricist Tim Rice, with a score by Hans Zimmer.

In the aftermath of its blockbuster release, The Lion King was embraced by members of the hip-hop community, with artists paying homage to the film and its characters through song and producers pilfering its score for samples. From J. Cole dubbing himself “Young Simba” and juxtaposing his rise up the rap ranks to the protagonist's own tale of redemption to Jay-Z comparing himself to Rafiki, The Lion King's legacy within the culture is iron-clad and has transcended generations.

To commemorate the 25th anniversary of the film's release, we compiled a list of 25 of the most memorable lyrical references to The Lion King throughout hip-hop history.

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1. "How Great" - Chance the Rapper feat. Nicole Steen & Jay Electronica

Lyrics: "I was lost in the jungle-like Simba after the death of Mufasa, no hog, no meerkat/Hakuna Matata by day, but I spent my night time fighting tears back" - Jay Electronica

2. "2SEATER" - Tyler, The Creator feat. Austin Feinstein, Samantha Nelson & Aaron Shaw

Lyrics: "Boy, I'm a king and I ain't lyin', boy, Hakuna Matata/Better watch for them hyenas if you flex then they swarm" - Tyler. the Creator

3. "Don’t Stop" - Wu-Tang Clan

Lyrics: "Hakuna Matata, no Mufasa, I'm not lion/You try to spit on that hot iron, you not iron" - Method Man

4. "Blow (Freestyle)" - Pusha T

Lyrics: "No weapon formed against me shall prosper/Hakuna Matata, feet up sipping java" - Pusha T

5. "V. 3005" - Childish Gambino

Lyrics: "Girl, why is you lying, girl why you Mufasa/Yeah, mi casa su casa, got it stripping like Gaza/Got so high off volcanoes, now the flow is so lava" - Childish Gambino

6. "L.M.F." - Smino

Lyrics: Hakuna Matata, I look like my father/You a lion, Mufasa/Said she Rafiki, you a lion, Mufasa/Baby ain't nothing 'bout me PG, rated X for extraordinary" - Smino

7. "Massive Attack" - Nicki Minaj

Lyrics: "So call me Simba, little mama, cause Mufasa couldn't stop a bi**h/I fly in on that chopper, just to buy Balenciaga" - Nicki Minaj

8. "Eggs Aisle" - Mac Miller

Lyrics: "Yeah I'm here, self-claimed deity/Cryin' during the Lion King, that's just the G in me" - Mac Miller

9. "Death Wish" - Jadakiss feat. Lil Wayne

Lyrics: "Big lion growl at you niggas on that Simba sh*t/I'll be on that "F**k yo' clique, I'll kill every member" sh*t" - Lil Wayne

10. "Get Em High" - Kanye West feat. Talib Kweli & Common

Lyrics: "Chimped up with a pimp cup, illiterate nigga, read the infra-/Red across your head, I'm bred king like Simba" - Common

11. "Sideline Story" - J. Cole

Lyrics: "And my lines is designed from the heart/Young Simba been a lion from the start/Dumb nigga’s, y’all been lyin from the start/My life’s like a movie, truly, and these niggas is dyin' for the part" - J. Cole

12. "Grown Simba" - J. Cole

Lyrics: "Hold up now, don’t get it twisted, I ain't hating, do your thing/I was like a young Simba; couldn’t wait to be the king" - J. Cole

13. "APESHIT" - The Carters

Lyrics: "I'm a gorilla in the fuckin' coupe, finna pull up in the zoo/I'm like Chief Keef meet Rafiki—who been lyin' "King" to you?" - Jay-Z

14. "Go Back" - Chris Webby feat. OnCue

Lyrics: "Lion King was the shit yo, enough said/When Rafiki drew Simba got it tatted on my leg" - Chris Webby

15. "Jones Indiana" - Chief Keef

Lyrics: "Get a new bi**h just how I get new clothes, yeah/Two watches, Pumbaa and Timon, yeah" - Chief Keef

16. "I Am Very Very Lonely" - Chance the Rapper

Lyrics: "This is not the castle this is just the casa tonight/Ain’t no Nala so my Simba ain't gon’ be Mufasa tonight" - Chance the Rapper

17. "What Kind of Love" - Childish Gambino

Lyrics: "You like to call me koala/I'll be your Simba, you're Nala/Wherever you go I'll follow—little lies" - Childish Gambino

18. "Track Two" - Ab-Soul

Lyrics: "Can't lose, you niggas must admire defeat/You lyin' like Nala, nigga, you know where to find a nigga" - Ab-Soul

19. "Perfect Imperfection" - Kevin Gates

Lyrics: Aerosmith jaded/She looked like Nala when she got on top me/I gazed in her eyes and responded, 'Can we go half on a baby?'" - Kevin Gates

20. "Work It Like A Pro" - Waka Flocka Flame feat. Giggs

Lyrics: "Call me Lion King, turn Mufasa for it/Wanna sell that pussy? Then I buss her for it" - Giggs

21. "Bosses" - Plies feat. Kash Doll

Lyrics: "I stand by us like a Lion King/She dancing here like a designer queen" - Plies

22. "Better than you ever Been" - Taylor Bennett feat. Young Thug

Lyrics: "She a horse, voice raspin'/Tiger stripes on her booty, call her Lion King/White toes and they tiny/Ask her do she like hoes, she's say 'slightly'" - Young Thug

23. "Ring" - Gucci Mane

Lyrics: "Quarter million dollars, spent that on that one ring/In a ring full of lions, I'm The Lion King" - Gucci Mane

24. "Hollis to Hollywood" - LL Cool J

Lyrics: "Hear it, pull it like strings, got mad cash to swing/When I do my thing my balls is hairy like The Lion King/I'm in the jungle laying down my mack/You brothers need to chill with that" - LL Cool J

25. "Fuck What You Think" - RZA feat. Islord & 9th Prince

Lyrics: "Of the dark ninja, Lion King of the jungle, Simba/Cut the roof to your family tree, timber" - RZA

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