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`Teacha' keeps hip-hop alive
KRS-ONE PROMISES NON-STOP BEATS
By Marian Liu
Mercury News
KRS-One is known as ``the Teacha.'' He can expound endlessly on hip-hop --
which he did earlier this week for more than an hour in an interview that
killed the batteries of two cell phones.
He performs tonight in Santa Cruz, Friday in San Jose and Saturday in San
Francisco.
At 41, with a 20-plus-year track record, he's regarded by fans as one of
hip-hop's principal historians. Here are excerpts from an interview conducted
on a historically significant day, Martin Luther King Jr.'s birthday.
Q Can you describe your concerts?
A I don't stop. You can expect a relentless, non-stop emceeing exhibition for
about an hour before I start talking. And then we go another 15 minutes, 20
minutes, half-hour, based on what the crowd wants. I have 15 albums' worth of
music. We can be there for two, three, four hours. It's never enough. I
always leave the stage with somebody wanting more. . . . This year I'm
focusing on . . . just straight-through emceeing, not gimmicks or props.
People don't come to see what I've got on, or what girl is dancing behind me,
or if I'm going to put on a beat produced by a famous producer. They come to
hear what I've got to say, and I'm going to give it to them, no doubt.
Q The latest rap controversy is over the Nas album title ``Hip Hop Is Dead.''
Could he be right?
A I am hip-hop, and so is he. To say hip-hop is dead is to say we're dead --
we're no longer relevant; it's now become a money game; it's now become more
important what model you slept with, male or female.
Of course, hip-hop cannot be dead. His title is poetic. . . . Hip-hop is the
name of our culture, the name of our consciousness. . . . The commercialism
is dead. That's what's dead. People are more interested in hip-hop, the
culture. . . . This is the direct effect of the movements that we instigated
over the last 20 years -- that rap is something we do, hip-hop is something
we live.
There is a new 15-year-old that is very knowledgeable of what hip-hop is,
what is real and what is fake. This is . . . why YouTube and iTunes . . . and
all these places where you can get music online -- that's why they're
winning, because people know where the real is. You can get the more real on
the Internet. . . . Radio and television are not real, and the audience knows
that.
Q What relationship do you see between Martin Luther King Jr. and hip-hop?
A Hip-hop (is) the child of (the civil rights movement). Nowhere else in the
United States can you see the manifestation of the `I have a dream' speech
but in hip-hop. Only hip-hop (culture) is actually dealing with . . . each
other based on . . . a person's character: Can you break? Can you DJ? What
can you do? What do you bring to the table?
KRS-One
( http://www.mercurynews.com/mld/mercurynews/entertainment/music/16482524.htm )
眉批
除了態度
還要反省
(順便給SBL眾球猩)
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