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Taken from Ambrosia For Heads (Oct 21, 2015)

What Is "Back To The Future" According To KRS-One?

by Bandini


In what has come to be known as “Back To The Future Day” (October 21, 2015), the fictional date portrayed as “the future” in the sequel to Robert Zemeckis’ 1985 film has actually arrived. The Michael J. Fox blockbuster franchise is still a cultural touchstone more than 30 years since the first installment hit theaters—a work that highlights the butterfly effect of every one’s individual decisions within our lives.


Back To The Future II fictionally forecast additional Jaws movies, a Chicago Cubs World Series berth, branding on everything, new Pepsi flavors, hover-boards and additional items that have, or are coming close to actualization by the proposed date (especially as the Cubs are currently approaching Game 5 in the NLCS against the New York Mets). It’s safe to say Hollywood was pretty accurate.



After two sequels, a famed Universal Studios attraction, and even the coveted Marty McFly sneakers, this film permeates pop art in the present. So in looking at Hip-Hop, what is our version of Back To The Future?


In Hip-Hop songs, there have been extra terrestrial encounters, apocalyptic forecasts, and predictions surrounding the loss of our cultural identity. However, what is Hip-Hop’s best prediction of the future? A year and a half before sequel Back To The Future: Part II hit theaters, Boogie Down Productions released their own. 1988’s By All Means Necessary was KRS-One’s one-man show that looked at Hip-Hop as it is, as it was, and asserted how it should be.


At 22 years old, Blastmasta KRS had fashioned himself a young career as one of Hip-Hop’s best lyricists. His 1987 LP Criminal Minded homogeneously blended clever “Poetry” with menacing battles and Gangsta Rap. On album two, after losing partner Scott La Rock to a fatal shooting, KRS-One honed in some of that message to uplift the people, and still maintain the competitive spirit.


“I’m Still #1? would be an iconic vehicle on not only By All Means Necessary, but a defining patch on B.D.P.’s quilt of messages. In the boom-bap single, KRS-One spoke his perception of what was true in 1988, and what may very well be true today.



People still takin’ rappin’ for a joke / A passin’ hope / Or a phase with a rope,” is how KRS opened the first verse. Less than a decade after “Rapper’s Delight,” the Bronx, New Yorker believed that Rap was treated as an ephemeral art in the mainstream. As Hip-Hop and its elements were regularly spoofed in pop culture in the late ’80s, as well as the subject of “20/20? and the like, KRS-One fought for validity, maintaining that this was here to stay. Twenty-seven years later, as presidential candidates are using Rap collaborations to jockey voters, and MCs’ albums are honored by the Library Of Congress, Tha Teacha’s attitude towards the naysayers was well-founded. However, in 2015, does Hip-Hop get the same treatment as Rock & Roll or Country? Albeit younger, is the genre often is still deemed as lesser by those in power.


Later in the verse, KRS touted “I’m not Superman / Because anybody can / Or should be able / To rock off of turntable / Grab the mic, plug it in / And begin / But there’s where the problem starts: / No heart / Because of that, a lot of groups fell apart / Rap is still an art / And no one’s from the old school / ‘Cause Rap is still a brand new tool / I say no one’s from the old school / ‘Cause Rap as a whole? / Isn’t even 20 years old.


In the bars that are believed to be a line aimed at the pioneering class of MCs, KRS-One makes a broader point. He highlights Rap’s fundamentals and its tools of the trade. The lyricist known for his bravado basically says anybody can do this, if they have heart and skill—himself and others included.


As the debate raged about where the talent in Hip-Hop lay, and if it was appropriately represented in the generation of MCs at that time, 1988 KRS-One said “yes.” Those who weren’t there had themselves to blame—not ageism. The MC decried the “old school” label in the ’80s, saying “fifty years down the line, you can start this, ’cause we’ll be the Old School artists.” Nearly 30 years later, as KRS-One, Dr. Dre, LL Cool J, Ice Cube, Too Short, and Erick Sermon make albums, are they “old school” or simply veterans? Dr. Dre arguably has the most-discussed Rap album of 2015 in Compton.


However, as indicated by Macklemore & Ryan Lewis’ controversial video single inclusion of Kool Moe Dee, Grandmaster Caz, and Grandmaster Melle Mel, this is still an issue that’s debated—with Big Daddy Kane and others weighing in. Even the same figures of KRS’ verse are part of the discussion that was resonant in 1988 and continues in 2015. The debate rages on, as does the dialog between pivotal MCs of the ’70s and ’80s and ‘90s, and contemporary voices.


In the next verse, KRS-One showed his own twisting opinion on the subject. “I’m not a beginner, amateur, or local / My album is sellin’ because of my vocals / You know what you need to learn? / Old school artists don’t always burn / You’re just another rapper who’s had his turn / Now it’s my turn! /And I am concerned / About idiots posing as kings / What are we here to rule? I thought we were supposed to sing / And if we oughta’ sing, then us begin to teach / Many of you are educated, open your mouth to speak.


While KRS decried old and new labels, he also charged that the guard had changed. Signifying that he had the culture’s ear and dismissing others’ misuse of the medium. In the last five years, as artists like Drake, Kendrick Lamar, J. Cole, and others have dominated the charts and acclaim, is there not a parallel? Notably, KRS uses “sing” to describe MCs’ messages. That word is especially prophetic as Drake, Kanye West, Cole, and Fetty Wap have challenged Hip-Hop conventions with albums built heavily around sung vocals. This week alone, Drake has driven discussions surrounding his music video to “Hotline Bling.”


Moreover, the 1988 bars explain the commercial takeover of artists such as Lamar, Cole, or even Lecrae. Substance-driven music continues to grab #1 spots on the charts—in a fashion that even B.D.P. was never able to enjoy (having never charted in the Top 30).


As so much of Back To The Future‘s playful forecasts have come eerily true, is there a better example of similar prophecy in Hip-Hop than “I’m Still #1?? KRS-One’s one-part call for unity, another part line in the sand in 1988 still hold true today.


Read “I’m Still #1” by Boogie Down Productions on Genius


[Intro]
D.J. Doc you know he's down with us
D-Square, he's down with us
Keyboard Money Mike, is down with us
I.C.U., you know he's down with us
D-Nice and McBoo, they're down with us
Ms. Melodie, she's down with us
Just-Ice and DMX, they're down with us
My manager Moe, he's down with us
Castle-D boy, he's down with us
D.J. Red Alert, he's down with us
Robocop boy, he's down with us
Makin' funky music is a must
I'm number one

[Verse 1]
People still takin' rappin' for a joke
A passing hope or a phase with a rope

Sometimes I choke and try to believe
When I get challenged by a million MCs
I try to tell them, "We're all in this together!"
My album was raw because no one would ever
Think like I think and do what I do
I stole the show, and then I leave without a clue
What do you think makes up a KRS?
Concisive teaching, or very clear speaking?
Ridiculous bass, aggravating treble
Rebel, renegade, must stay paid
Not by financial aid, but a raid of hits
Causing me to take long trips
I'm the original teacher of this type of style
Rockin' off-beat with a smile

Or smirk or chuckle, yes some are not up to
BDP Posse so I love to
Step in the jam and slam
I'm not Superman, because anybody can
Or should be able to rock off turntables
Grab the mic, plug it in and begin

But here's where the problem starts, no heart
Because of that a lot of groups fell apart
Rap is still an art, and no one's from the Old School
Cuz Rap is still a brand-new tool
I say no one's from the Old School cuz Rap on a whole
Isn't even twenty years old
Fifty years down the line, you can start this
Cuz we'll be the Old School artists

And even in that time, I'll say a rhyme
A brand-new style, ruthless and wild
Runnin' around spendin' money, havin' fun
Cuz even then, I'm still number one

[Verse 2]
Blastmaster KRS-One of course
Comes to express with style the lost
Ways of rhyming, old and new, past and present
Knock, knock, who is it?
A brand-new style, hup, time to change
People talk about me when they see me on stage
Live in action, guaranteed raw
I hang with the rich and I work for the poor
Now tomorrow you can say you saw
KRS-One stompin' once more
I play by ear, I love to steer
The Alfa Romeo from here to there
I grab the beer, but not in the ride
Cuz I'm not stupid, I don't drink and drive
I'm not a beginner, amateur or local
My album is sellin' because of my vocals
You know what you need to learn?
Old School artists don't always burn
You're just another rapper who's had his turn
Now it's my turn, and I am concerned

About idiots posing as kings
What are we here to rule?

I thought we were supposed to sing
And if we oughta sing, then let us begin to teach
Many of you are educated, open your mouth and speak
KRS-One is something like a total renegade
Except I don't steal, I rhyme to get paid
Airplanes flyin', overseas people dyin'
Politicians lyin', I'm tryin'
Not to escape, but hit the problem head-on
By bringin' out the truth in a song
So BDP, short for Boogie Down Productions
Made a little noise cuz the crew was sayin' somethin'
People have the nerve to take me for a gangster
An ignorant one, something closer to a prankster
Doin' petty crimes, goin' straight to penitentiary
But in a scale of crime that's really elementary
This beat is now compelling me to explain in silence
Why my last jam was so violent
It's simple: BDP will teach reality

No beatin' around the bush, straight up, just like The P Is Free
So now you know, a poet's job is never done
But I'm never overworked, cuz I'm still number one

[Outro]
Kool Moe Dee, he's down with us
Eric B. and Rakim, they're down with us
Stetsasonic, they're down with us
Dana Dane, he's down with us
Sleeping Bag Records, they're down with us
My lawyer Jay, he's down with us
Jive/RCA is down with us
Makin' funky music is a must
I'm number one



 
 

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