Publication: Rolling Stone 
Author: Kory Grow
Date: June 30, 2014
“We needed an anthem,” Spike Lee said. “When I wrote the script for Do the Right Thing, every time when the Radio Raheem character showed up, he had music blasting. I wanted Public Enemy.”
The director may have asked for an anthem for his 1989 chronicle of big-city racial tensions, but what he got was a salvo. A quarter of a century has passed since Radio Raheem’s boom box served as a megaphone to a generation, spreading Public Enemy’s rap reveille over and over again in the movie, but “Fight the Power” has not lost an ounce of its revolutionary power or poignancy. Chuck D’s lyrics praising freedom of speech and people uniting while decrying racist icons still sound just as vital as anything Pete Seeger wrote, and production team the Bomb Squad’s ultra-modern collage of funk and noise for the track has never been replicated. The fact that Public Enemy made multiple versions of the tune – including the Branford Marsalis–infused, free-jazz cut for the movie and the more straight-ahead approach on their 1990 album Fear of a Black Planet – only shows the versatility of the song’s message.
To celebrate the legacy of the tune, and its impact both in and out of movie theaters 25 years later, Rolling Stone caught up with Lee, Marsalis and Public Enemy’s Chuck D and Flavor Flav and the Bomb Squad’s Hank Shocklee and found out how they made an anthem.
How did Branford Marsalis get involved?
Branford Marsalis: I think it was Spike’s idea. I don’t feel at that the time that P.E. or Hank would have been suddenly compelled to use a saxophone.
Shocklee: I wanted to have a sax in the record but I didn’t want it in a smooth, melodic fashion; I wanted someone to play it almost like a weapon, and Branford was the guy.
He came in the studio and he was incredibly gracious and very humble. He treated us as if we were musicians just like himself.
Marsalis: Hank did something that I’ll never forget. He made me do one funky solo, one jazz solo and one just completely avant-garde, free-jazz solo. And I said, “Which one them are you going to use?” And he said, “All three of them motherfuckers,” and he threw all three up. And the shit was killer. You had this Wall of Sound come in and the saxophones came in, and it was a Wall of Sound to accompany a Wall of Sound.