`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 除了态度 还要反省 (顺便给SBL众球猩) --

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