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From a socio-historical perspective, and Flava Flav’s rejection of American iconography and ideals (“F*#$ him and John Wayne”), via United States postage, illuminates the significance of American symbols and iconography in . American signage, brands, symbols, and iconography are extensions of American political interests and sensibilities, each possessing the power to conjure certain feelings and emotions:

When paper is so imprinted as to become currency or postage stamps, it becomes

iconic. At that moment, the paper takes on a value—both economically and

symbolically—which it could not have had before...the artifact-as-symbol has

taken on a new dimension, and a new role in popular culture. (Skaggs 198)

Public Enemy’s reappropriation of American postage stamps, then, can be viewed an important cultural-historical critique. Chuck D’s narrative utilized American postage as a signifier of American racism is evidence of ’s genius:

For postage stamps were dominated by portraits of culture-heroes…[stamps] had

the authority to take documents across the land, indeed around the world. Not

only letters, but all important legal documents must be stamped. And what bigger

compliment than to say that a story “bears the stamp of truth”. (Skaggs 198)

American postage has historically edified American culture-heroes since they were first issued in 1847 (Skaggs 198). Public Enemy’s critique resonates even more when one examines the intent and history of American postage:

Whether the engravings represented individuals, events, symbols, or groups, all

have sought to project the national origin in heroic terms. Most have

been the representation of individuals associated with the revolutionary age—