Sunday CALENDAR SECTION only of the Los Angeles Times, Feb. 4, 1990 

* The birth of West Coast "gangsta rap"
* "Public Enemy" hip hop group 
* Interview w/ Chuck D with photos 
* "N.W.A." with Dr. Dre & Eazy-E

Often revered as the undisputed "bible" of Hollywood, the Sunday Calendar section occupied a rare space in journalism where a single publication could simultaneously dictate global entertainment trends and govern the inner workings of show business. Today, physical copies are an absolute rarity, largely because they were printed on standard, ephemeral newsprint designed to be devoured and promptly discarded at the end of the week.
The front page features a photo of Public Enemy's lead man Chuck D with heading: "Rap Power" and more. 
Starting on page 64 is a lengthy editorial and Chuck D interview by Robert Hillburn with heading: "Rap--The Power and the Controversy" with a few related photos. 
And page 67 has another editorial headed: "Straight Outta L.A.: A New Assault on Pop" with a focus on Dr. Dre.'s "N.W.A." with photo of Dr. Dre and Eazy-E. Another photo of Tone Loc is on the same page. (see images)
Provenance note: This issue comes from The Los Angeles Times own archives, part of their in-house collection used to create their digital archive. Rare as such.
I suspect this to be an extremely rare item because their was really no reason to save it at the time.
Complete Calendar section only with all 104 pages, tabloid size, very nice condition.

Background: This specific Los Angeles Times feature caught hip-hop at its most explosive, transitional juncture, capturing the historic collision between New York’s politically charged "conscious rap" and Los Angeles’s nascent "gangsta rap" just as they entered mainstream consciousness. By pairing Chuck D—the fiercely articulate voice of Public Enemy whose upcoming album Fear of a Black Planet challenged systemic racism—with N.W.A, who were actively terrifying mainstream America and the FBI with their raw, unfiltered dispatches from Compton, the editorial documented the exact moment hip-hop transitioned from a regional subculture into a dominant, highly scrutinized political force. This coverage was highly significant because a major establishment newspaper like the LA Times was treating rap not as a passing, juvenile fad, but as a serious cultural and social movement demanding front-page intellectual analysis, framing these artists as the vital, polarizing street journalists of a fractured America.