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Rap group Public Enemy is known for speaking out – especially band member Chuck D. The group is famous for radical lyrics in songs like 'Fight the Power' and '911 Is a Joke.'

When it comes to the controversy surrounding the distribution of audio on the Internet, Chuck D is true to form. 'As far as the industry [goes], fuck 'em all,' he said. 'Now they're all fucking scared. The means of distributing the fucking product [is] in anyone's hands.' Public Enemy runs an extensive Web site, with audio files of their music, video clips, message boards, photos, and song lyrics.

In the past three weeks the band posted portions of a longer remix for free download in the MP3 format, according to Chuck D. They planned to release one sample a week from an unreleased 27-minute remix of old Public Enemy songs called Bring the Noise 2000. 'We were looking for [PolyGram] to shut us down anyway,' he said. 'This industry is one-sided and Public Enemy has always been one to make a statement.' The brouhaha between Public Enemy and PolyGram is part of a larger issue in the distribution of music online. Most music industry players see promoting and selling music online as inevitable.

But just how to do that is the controversy. The music industry is fighting against the MP3 audio format, which compresses audio files for easier transmission over the Internet. MP3 delivers CD-quality sound, but it drives the Recording Industry Association of America nuts that users can distribute songs without paying royalties. Gary G-Wiz admitted that, legally, PolyGram has the right to make the band remove the songs from its Web site. Public Enemy doesn't own the rights to the songs, Gary G-Wiz said. 'We weren't selling them – they were just there [on the site] for promotional purposes. Filjm chernie bereti cherez torrent. But it's their call.

They can make us take them down.' Public Enemy would like to offer more audio samples, but it remains to be seen whether PolyGram will allow it, he said. A proponent of MP3 argued that the format is good for reaching the huge audience of MP3 users on the Internet. 'Band members think it's a great idea, but you have a real reluctance at the record-label level [to use the format],' said Michael Robertson, president of Z Company, which operates the MP3.com Web site.

'They don't understand that's where their users are.' Steve Grady, spokesman for GoodNoise, an online record label, says MP3 is a vehicle for sales. And, he said, MP3 is not solely a format for free downloads.

On the Public Enemy Web site, a of protest from Chuck D is all that remains of the MP3 recordings. 'Polygram/Universal or whatever the fuck they're now called forced us to remove the MP3 version of Bring The Noise 2000,' said Chuck D. 'The execs, lawyers, and accountants who lately have made most of the money in the music biz, are now running scared from the technology that evens out the creative field and makes artists harder to pimp. Let em all die. I'm glad to be a contributor to the bomb.'

Everyone gets something different out of Public Enemy's music. Your personal circumstances dictate what feelings their lyrics and intense music provoke. A white woman living in Australia is bound to react to a song like ‘You're Gonna Get Yours' far differently to a black teen in Harlem. But, no matter what you get from Public Enemy – whether you're drawn to the militancy of Chuck D's pro-black, anti-establishment message or you just like Flava Flav's clock – they are always going to make an impact. Right from their first record, 1987's Yo! Bum Rush the Show, their music was hardcore, heavy and impossible to ignore. “The year I dropped my first album, it came out the same year as Public Enemy's,” Ice-T told Kingsmill in 1993.

“Chuck D was telling them ‘Miuzi Weights A Ton', meaning his mind was as powerful as a gun. Making people understand ‘When I talk about my ammo, I'm talking about my brain power'. It was so heavy and so hard. “That record let me know that hardcore was gonna stay alive. For a while there, nobody else was really coming as hard as I was.”.

When Chuck D put it so plain and clear, it made people look at the press differently. Ice Cube - triple j, 1994 Second record, 1988's It Takes A Nation of Millions to Hold Us Back, arguably hit harder. Public Enemy had a bigger audience, but they were just as angry and knew how to get it across. “The media in America has had so much influence over black people,” Ice Cube told triple j's Richard Kingsmill in 1994. “They have been able to turn us against each other. “But when Chuck D and Public Enemy came out with ‘Don't Believe the Hype', it was giving us an alternative to what we always thought. 'The people who print the magazines and who do the news, we believed everything that they had to say.

“But when Chuck D put it so plain and clear, it made people look at the press differently.” Such was the power of Public Enemy's hip hop that no boundaries could contain its influence. It crossed over to people of all races, genders and with all manner of musical dispositions. “Chuck is one of the only guys who's saying righteous stuff,” Henry Rollins told triple j.