Hiphop Knowledge 歌词
| 歌曲 | Hiphop Knowledge |
| 歌手 | KRS-One |
| 专辑 | The Sneak Attack |
| 下载 | Image LRC TXT |
| [00:00.00] | 作词 : KRS One |
| [00:01.000] | You know.. life is funny.. |
| [00:04.410] | If you don't repeat the actions of your own success you won't be successful |
| [00:09.300] | You gotta know your own formula, your own ingredients.What made you, YOU.. |
| [00:15.720] | 1987 I was at the Latin Quarters |
| [00:17.710] | Listenin to Afrika Bambaata give the order |
| [00:19.720] | The call of the order was to avoid the slaughter |
| [00:21.570] | He said, "Record companies ain't got nuttin for ya!" |
| [00:23.660] | Without a lawyer, he taught The Infinity Lessons |
| [00:25.870] | In how hip-hop could be a, many a blessing |
| [00:27.510] | And that was great, so in 1988，there was no debate, we had to end the hate Afrika |
| [00:31.800] | The name of the game was "Stop the Violence" and unity, knowledge, and self-reliance |
| [00:35.500] | We - started talkin bout Martin and Malcolm |
| [00:37.700] | Had these ghetto kids goin, "Huh, what about him?" |
| [00:39.580] | 1989, Professor Griff speaks his mind but his freedom of speech is declined |
| [00:43.600] | 1990 came with the West coast.East coast, West coast, who is the best coast? 1990 |
| [00:47.270] | Lookin back now, of COURSE it was bogus.The whole argument was where we lost focus |
| [00:51.240] | We got hopeless; not with the lyrics and music but with hip-hop, and how we used it |
| [00:55.000] | Or abused it, you know how the crew get."You like it cause you choose it" |
| [00:59.220] | 1991, we opened our eyes with Human Education Against Lies,we tried to talk about the state of humanity 1991 |
| [01:07.000] | They called me "Captain Human", another message was sent"Self Destruction don't pay the {fuckin} rent" |
| [01:11.680] | Remember that? Nobody wanted conscious rap |
| [01:13.800] | It was like - where these ballers at?Where can they call us at? All was wack |
| [01:17.000] | Hip-Hop culture was fallin flat and that was that |
| [01:19.170] | So in 1992, I found my crew.They said, "Yo Kris, what you wanna do?" |
| [01:22.750] | I said, "Damn - why they wanna get with me?If I bust they {shit} I'm contradictory. |
| [01:27.000] | If I play the bitch role, they take my shoe.Tell me what the {fuck} am I supposed to do?" |
| [01:31.000] | So I did it, don't stop get it get it get it.All of a sudden these critics they wanna spit it |
| [01:35.250] | "Kay Are Ess One is con-tra-dic-to-ry"Just cause I wouldn't let these rappers get with me |
| [01:39.000] | {Fuck} that, {fuck} you and {fuck} your pen.If a rapper wanna diss, yo I'd do it again |
| [01:42.650] | But I'm makin these ends, and I got my friends |
| [01:44.680] | And I really don't wanna have to sit in the pen.So I go back to the philosopher |
| [01:49.000] | 1993 hip-hop is uhh.. wack.Go back, check the facts |
| [01:52.490] | 1994, "Return of the Boom Bap"It wasn't all about the loot.It was all about Harry Allen Rhythm Cultural Institute 1 |
| [01:58.430] | Blowin up, 1995.Conscious rap is still alive |
| [02:02.550] | But nobody wanna play it, nobody wanna say it.Nobody okayed it, they'd all rather hate it |
| [02:06.660] | 1996 it really don't stop.We put together somethin called the Temple of Hip-Hop |
| [02:10.790] | Not just DJin, breakin, graf and lyrics.But how hip-hop affects the spirit |
| [02:14.790] | "Step Into a World," that's what I did “ |
| [02:17.000] | 1997 I was raisin my kid or kids, but I, had to go 1997 |
| [02:20.510] | Cause New York DJ's changed the flows to clothes and hoes, but that wasn't me |
| [02:24.450] | I'll be damned if I dance for the MTV |
| [02:26.460] | So in 1998 I began to debate.Should I go now, or should I really wait? |
| [02:30.380] | '99, I moved to L.A. you see and took a gig with the WB |
| [02:34.560] | Started studyin philosophy full-time.To have a full heart, full body, full mind |
| [02:38.420] | But you know what the problem is or was? |
| [02:41.000] | DJ's don't raise our kids, cuz they so caught up in the cash and jewels DJ |
| [02:44.290] | How they gonna really see a hip-hop school?How they gonna really see a hip-hop temple? |
| [02:48.440] | They don't even wanna play my instrumentals, but big up Dr. Dre, Snoop, Xzibit |
| [02:52.570] | Especially Xzibit, he was there in a minute |
| [02:54.380] | Mic Conception, all of them, said"Yo you need help? I should call them" |
| [02:59.000] | When I was in L.A., I held the crown.Bloods, Crips, they held me down |
| [03:02.070] | I could never forget Mad Lion, killer pride with the gat in the lap in the low-ride |
| [03:05.500] | Oh I can't forget, Icy Ice, Lucky Lou.Julio G, that was the crew Davey D, Ingrid, David Connor |
| [03:12.300] | The list goes on and on, let me tell ya FredWreck, and my man Protest.Much respect, no less |
| [03:17.690] | To my spiritual and mental defenders.Big up to L.A., temple members |
| [03:21.370] | But in 2000, I seen how I wanted to live.I wasn't no executive |
| [03:25.960] | So I picked up the mic and I quit my job.Said to Simone I gotta get with God |
| [03:29.800] | She said, "Don't worry bout these dollars and quarters.Record companies ain't got nuttin for ya." |
| [03:33.870] | Damn, she took me back to Bam!.Took me back to who I am! |
| [03:37.600] | Brought me back to the New York land!Now I overstand!.. |
| [03:46.000] | {interviewer}Now KRS-One, now you've been quoted as saying that rap is something we do, hip-hop is something you live. |
| [03:52.740] | {KRS} Yes! KRS-ONE: |
| [03:54.030] | {interviewer}Explain that to us please. |
| [03:55.430] | {KRS-One}Well, well, today hip-hop, we are advocating that hip-hop is not,just a music, it is an attitude, it is an awareness, it is a way to view the world. |
| [04:05.760] | So rap music, is something we do, but HIP-HOP,is something we live. |
| [04:12.000] | And we look at hip-hop, in it's 9 elements; |
| [04:15.000] | which is breaking, emceeing, graffiti art, deejaying, beatboxing,street fashion, street language, street knowledge, and street entrepenurialism - trade and business. |
| [04:25.780] | And uhh, that's where y'know that's the hip-hop that that that we're about. |
| [04:29.900] | We come from the uhh the root of, of Kool DJ Herc, who originated hip-hop in the early |
| [04:37.500] | and then Afrika Bambaata and Zulu Nation (mmhmm) who instigated something called The Infinity Lessons |
| [04:43.190] | and added conciousness to hip-hop, and then Grandmaster Flashwith the invention of the mixer, on to Run-D.M.C. and then myself. |
| [04:51.420] | And uhh, we created the "Stop the Violence" movement, you may recall a song, "Self Destruction" and and and so on. |
| [04:58.700] | All of this, goes to uhh uhh, the idea of LIVING this culture out and taking responsibility for how it looks and and acts in society. |
| [00:00.00] | zuo ci : KRS One |
| [00:01.000] | You know.. life is funny.. |
| [00:04.410] | If you don' t repeat the actions of your own success you won' t be successful |
| [00:09.300] | You gotta know your own formula, your own ingredients. What made you, YOU.. |
| [00:15.720] | 1987 I was at the Latin Quarters |
| [00:17.710] | Listenin to Afrika Bambaata give the order |
| [00:19.720] | The call of the order was to avoid the slaughter |
| [00:21.570] | He said, " Record companies ain' t got nuttin for ya!" |
| [00:23.660] | Without a lawyer, he taught The Infinity Lessons |
| [00:25.870] | In how hiphop could be a, many a blessing |
| [00:27.510] | And that was great, so in 1988, there was no debate, we had to end the hate Afrika |
| [00:31.800] | The name of the game was " Stop the Violence" and unity, knowledge, and selfreliance |
| [00:35.500] | We started talkin bout Martin and Malcolm |
| [00:37.700] | Had these ghetto kids goin, " Huh, what about him?" |
| [00:39.580] | 1989, Professor Griff speaks his mind but his freedom of speech is declined |
| [00:43.600] | 1990 came with the West coast. East coast, West coast, who is the best coast? 1990 |
| [00:47.270] | Lookin back now, of COURSE it was bogus. The whole argument was where we lost focus |
| [00:51.240] | We got hopeless not with the lyrics and music but with hiphop, and how we used it |
| [00:55.000] | Or abused it, you know how the crew get." You like it cause you choose it" |
| [00:59.220] | 1991, we opened our eyes with Human Education Against Lies, we tried to talk about the state of humanity 1991 |
| [01:07.000] | They called me " Captain Human", another message was sent" Self Destruction don' t pay the fuckin rent" |
| [01:11.680] | Remember that? Nobody wanted conscious rap |
| [01:13.800] | It was like where these ballers at? Where can they call us at? All was wack |
| [01:17.000] | HipHop culture was fallin flat and that was that |
| [01:19.170] | So in 1992, I found my crew. They said, " Yo Kris, what you wanna do?" |
| [01:22.750] | I said, " Damn why they wanna get with me? If I bust they shit I' m contradictory. |
| [01:27.000] | If I play the bitch role, they take my shoe. Tell me what the fuck am I supposed to do?" |
| [01:31.000] | So I did it, don' t stop get it get it get it. All of a sudden these critics they wanna spit it |
| [01:35.250] | " Kay Are Ess One is contradictory" Just cause I wouldn' t let these rappers get with me |
| [01:39.000] | Fuck that, fuck you and fuck your pen. If a rapper wanna diss, yo I' d do it again |
| [01:42.650] | But I' m makin these ends, and I got my friends |
| [01:44.680] | And I really don' t wanna have to sit in the pen. So I go back to the philosopher |
| [01:49.000] | 1993 hiphop is uhh.. wack. Go back, check the facts |
| [01:52.490] | 1994, " Return of the Boom Bap" It wasn' t all about the loot. It was all about Harry Allen Rhythm Cultural Institute 1 |
| [01:58.430] | Blowin up, 1995. Conscious rap is still alive |
| [02:02.550] | But nobody wanna play it, nobody wanna say it. Nobody okayed it, they' d all rather hate it |
| [02:06.660] | 1996 it really don' t stop. We put together somethin called the Temple of HipHop |
| [02:10.790] | Not just DJin, breakin, graf and lyrics. But how hiphop affects the spirit |
| [02:14.790] | " Step Into a World," that' s what I did " |
| [02:17.000] | 1997 I was raisin my kid or kids, but I, had to go 1997 |
| [02:20.510] | Cause New York DJ' s changed the flows to clothes and hoes, but that wasn' t me |
| [02:24.450] | I' ll be damned if I dance for the MTV |
| [02:26.460] | So in 1998 I began to debate. Should I go now, or should I really wait? |
| [02:30.380] | ' 99, I moved to L. A. you see and took a gig with the WB |
| [02:34.560] | Started studyin philosophy fulltime. To have a full heart, full body, full mind |
| [02:38.420] | But you know what the problem is or was? |
| [02:41.000] | DJ' s don' t raise our kids, cuz they so caught up in the cash and jewels DJ |
| [02:44.290] | How they gonna really see a hiphop school? How they gonna really see a hiphop temple? |
| [02:48.440] | They don' t even wanna play my instrumentals, but big up Dr. Dre, Snoop, Xzibit |
| [02:52.570] | Especially Xzibit, he was there in a minute |
| [02:54.380] | Mic Conception, all of them, said" Yo you need help? I should call them" |
| [02:59.000] | When I was in L. A., I held the crown. Bloods, Crips, they held me down |
| [03:02.070] | I could never forget Mad Lion, killer pride with the gat in the lap in the lowride |
| [03:05.500] | Oh I can' t forget, Icy Ice, Lucky Lou. Julio G, that was the crew Davey D, Ingrid, David Connor |
| [03:12.300] | The list goes on and on, let me tell ya FredWreck, and my man Protest. Much respect, no less |
| [03:17.690] | To my spiritual and mental defenders. Big up to L. A., temple members |
| [03:21.370] | But in 2000, I seen how I wanted to live. I wasn' t no executive |
| [03:25.960] | So I picked up the mic and I quit my job. Said to Simone I gotta get with God |
| [03:29.800] | She said, " Don' t worry bout these dollars and quarters. Record companies ain' t got nuttin for ya." |
| [03:33.870] | Damn, she took me back to Bam!. Took me back to who I am! |
| [03:37.600] | Brought me back to the New York land! Now I overstand!.. |
| [03:46.000] | interviewer Now KRSOne, now you' ve been quoted as saying that rap is something we do, hiphop is something you live. |
| [03:52.740] | KRS Yes! KRSONE: |
| [03:54.030] | interviewer Explain that to us please. |
| [03:55.430] | KRSOne Well, well, today hiphop, we are advocating that hiphop is not, just a music, it is an attitude, it is an awareness, it is a way to view the world. |
| [04:05.760] | So rap music, is something we do, but HIPHOP, is something we live. |
| [04:12.000] | And we look at hiphop, in it' s 9 elements |
| [04:15.000] | which is breaking, emceeing, graffiti art, deejaying, beatboxing, street fashion, street language, street knowledge, and street entrepenurialism trade and business. |
| [04:25.780] | And uhh, that' s where y' know that' s the hiphop that that that we' re about. |
| [04:29.900] | We come from the uhh the root of, of Kool DJ Herc, who originated hiphop in the early |
| [04:37.500] | and then Afrika Bambaata and Zulu Nation mmhmm who instigated something called The Infinity Lessons |
| [04:43.190] | and added conciousness to hiphop, and then Grandmaster Flashwith the invention of the mixer, on to RunD. M. C. and then myself. |
| [04:51.420] | And uhh, we created the " Stop the Violence" movement, you may recall a song, " Self Destruction" and and and so on. |
| [04:58.700] | All of this, goes to uhh uhh, the idea of LIVING this culture out and taking responsibility for how it looks and and acts in society. |
| [00:00.00] | zuò cí : KRS One |
| [00:01.000] | You know.. life is funny.. |
| [00:04.410] | If you don' t repeat the actions of your own success you won' t be successful |
| [00:09.300] | You gotta know your own formula, your own ingredients. What made you, YOU.. |
| [00:15.720] | 1987 I was at the Latin Quarters |
| [00:17.710] | Listenin to Afrika Bambaata give the order |
| [00:19.720] | The call of the order was to avoid the slaughter |
| [00:21.570] | He said, " Record companies ain' t got nuttin for ya!" |
| [00:23.660] | Without a lawyer, he taught The Infinity Lessons |
| [00:25.870] | In how hiphop could be a, many a blessing |
| [00:27.510] | And that was great, so in 1988, there was no debate, we had to end the hate Afrika |
| [00:31.800] | The name of the game was " Stop the Violence" and unity, knowledge, and selfreliance |
| [00:35.500] | We started talkin bout Martin and Malcolm |
| [00:37.700] | Had these ghetto kids goin, " Huh, what about him?" |
| [00:39.580] | 1989, Professor Griff speaks his mind but his freedom of speech is declined |
| [00:43.600] | 1990 came with the West coast. East coast, West coast, who is the best coast? 1990 |
| [00:47.270] | Lookin back now, of COURSE it was bogus. The whole argument was where we lost focus |
| [00:51.240] | We got hopeless not with the lyrics and music but with hiphop, and how we used it |
| [00:55.000] | Or abused it, you know how the crew get." You like it cause you choose it" |
| [00:59.220] | 1991, we opened our eyes with Human Education Against Lies, we tried to talk about the state of humanity 1991 |
| [01:07.000] | They called me " Captain Human", another message was sent" Self Destruction don' t pay the fuckin rent" |
| [01:11.680] | Remember that? Nobody wanted conscious rap |
| [01:13.800] | It was like where these ballers at? Where can they call us at? All was wack |
| [01:17.000] | HipHop culture was fallin flat and that was that |
| [01:19.170] | So in 1992, I found my crew. They said, " Yo Kris, what you wanna do?" |
| [01:22.750] | I said, " Damn why they wanna get with me? If I bust they shit I' m contradictory. |
| [01:27.000] | If I play the bitch role, they take my shoe. Tell me what the fuck am I supposed to do?" |
| [01:31.000] | So I did it, don' t stop get it get it get it. All of a sudden these critics they wanna spit it |
| [01:35.250] | " Kay Are Ess One is contradictory" Just cause I wouldn' t let these rappers get with me |
| [01:39.000] | Fuck that, fuck you and fuck your pen. If a rapper wanna diss, yo I' d do it again |
| [01:42.650] | But I' m makin these ends, and I got my friends |
| [01:44.680] | And I really don' t wanna have to sit in the pen. So I go back to the philosopher |
| [01:49.000] | 1993 hiphop is uhh.. wack. Go back, check the facts |
| [01:52.490] | 1994, " Return of the Boom Bap" It wasn' t all about the loot. It was all about Harry Allen Rhythm Cultural Institute 1 |
| [01:58.430] | Blowin up, 1995. Conscious rap is still alive |
| [02:02.550] | But nobody wanna play it, nobody wanna say it. Nobody okayed it, they' d all rather hate it |
| [02:06.660] | 1996 it really don' t stop. We put together somethin called the Temple of HipHop |
| [02:10.790] | Not just DJin, breakin, graf and lyrics. But how hiphop affects the spirit |
| [02:14.790] | " Step Into a World," that' s what I did " |
| [02:17.000] | 1997 I was raisin my kid or kids, but I, had to go 1997 |
| [02:20.510] | Cause New York DJ' s changed the flows to clothes and hoes, but that wasn' t me |
| [02:24.450] | I' ll be damned if I dance for the MTV |
| [02:26.460] | So in 1998 I began to debate. Should I go now, or should I really wait? |
| [02:30.380] | ' 99, I moved to L. A. you see and took a gig with the WB |
| [02:34.560] | Started studyin philosophy fulltime. To have a full heart, full body, full mind |
| [02:38.420] | But you know what the problem is or was? |
| [02:41.000] | DJ' s don' t raise our kids, cuz they so caught up in the cash and jewels DJ |
| [02:44.290] | How they gonna really see a hiphop school? How they gonna really see a hiphop temple? |
| [02:48.440] | They don' t even wanna play my instrumentals, but big up Dr. Dre, Snoop, Xzibit |
| [02:52.570] | Especially Xzibit, he was there in a minute |
| [02:54.380] | Mic Conception, all of them, said" Yo you need help? I should call them" |
| [02:59.000] | When I was in L. A., I held the crown. Bloods, Crips, they held me down |
| [03:02.070] | I could never forget Mad Lion, killer pride with the gat in the lap in the lowride |
| [03:05.500] | Oh I can' t forget, Icy Ice, Lucky Lou. Julio G, that was the crew Davey D, Ingrid, David Connor |
| [03:12.300] | The list goes on and on, let me tell ya FredWreck, and my man Protest. Much respect, no less |
| [03:17.690] | To my spiritual and mental defenders. Big up to L. A., temple members |
| [03:21.370] | But in 2000, I seen how I wanted to live. I wasn' t no executive |
| [03:25.960] | So I picked up the mic and I quit my job. Said to Simone I gotta get with God |
| [03:29.800] | She said, " Don' t worry bout these dollars and quarters. Record companies ain' t got nuttin for ya." |
| [03:33.870] | Damn, she took me back to Bam!. Took me back to who I am! |
| [03:37.600] | Brought me back to the New York land! Now I overstand!.. |
| [03:46.000] | interviewer Now KRSOne, now you' ve been quoted as saying that rap is something we do, hiphop is something you live. |
| [03:52.740] | KRS Yes! KRSONE: |
| [03:54.030] | interviewer Explain that to us please. |
| [03:55.430] | KRSOne Well, well, today hiphop, we are advocating that hiphop is not, just a music, it is an attitude, it is an awareness, it is a way to view the world. |
| [04:05.760] | So rap music, is something we do, but HIPHOP, is something we live. |
| [04:12.000] | And we look at hiphop, in it' s 9 elements |
| [04:15.000] | which is breaking, emceeing, graffiti art, deejaying, beatboxing, street fashion, street language, street knowledge, and street entrepenurialism trade and business. |
| [04:25.780] | And uhh, that' s where y' know that' s the hiphop that that that we' re about. |
| [04:29.900] | We come from the uhh the root of, of Kool DJ Herc, who originated hiphop in the early |
| [04:37.500] | and then Afrika Bambaata and Zulu Nation mmhmm who instigated something called The Infinity Lessons |
| [04:43.190] | and added conciousness to hiphop, and then Grandmaster Flashwith the invention of the mixer, on to RunD. M. C. and then myself. |
| [04:51.420] | And uhh, we created the " Stop the Violence" movement, you may recall a song, " Self Destruction" and and and so on. |
| [04:58.700] | All of this, goes to uhh uhh, the idea of LIVING this culture out and taking responsibility for how it looks and and acts in society. |
| [00:01.000] | 你知道生活如此多姿 |
| [00:04.410] | 如果你不肯为你想要的目标付出努力，那你就不会成功 |
| [00:09.300] | 你须知适合自己的方法，你自己的性格优劣，是什么成就了你 |
| [00:15.720] | 1987年我在“拉丁区”演出(纽约一个著名的hiphop演出夜店) |
| [00:17.710] | 听着Afrika Bambaata所构想的制度 |
| [00:19.720] | 这个秩序的提出是为了避免人与人之间的争端（前面夜店老总和KRS-ONE的朋友因暴力争端遭枪杀） |
| [00:21.570] | 他说：“唱片公司在这种制度下不会对这一系列的暴力争端毫无办法的。” |
| [00:23.660] | 他在没有法律解决的情况下教了那些最让我难忘的课 |
| [00:25.870] | 关于嘻哈,如何造福我们的生活 |
| [00:27.510] | 的想法触动了大家，所以在1988年这个圈子变得没有争执，我们必须消灭憎恶 |
| [00:31.800] | 我们举行的活动叫 “停止暴力”同时是团结，知识也是信任的象征（hiphop诞生最初的主旨） |
| [00:35.500] | 我们开始谈论Martin和 Malcolm（主导美国黑人民权运动的两位英雄） |
| [00:37.700] | 那些贫民窟的孩子进来倾听着：“嗯，他们怎么样了？” |
| [00:39.580] | 1989年，professor Griff在他的舞台敞开心扉（公敌成员）但他在舞台上畅所欲言的权利被逐渐削减 |
| [00:43.600] | 年蹦出了个西海岸。东海岸，西海岸，哪个才是最溜的海岸？ |
| [00:47.270] | 回首往昔，这场争执的本质是没营养的。这场海岸大战让我们失去了大众的关注。 |
| [00:51.240] | 我们觉得特别无助；不是因为歌词和音乐而是因为hiphop和大众对待它的态度 |
| [00:55.000] | 要么就在歌里乱骂，你知道那些家伙是怎么看待它的。“你喜欢hiphop是因为你选择了它！” |
| [00:59.220] | 年我们在做H.E.A.L时开阔了自己的领域，我们尝试诉说当今人类的现状。 |
| [01:07.000] | 他们管我叫“领头人”，又有人说：“卖Self destruction的钱都不够付房租”（self destruction是krs聚集众多大咖做的一首公益歌曲） |
| [01:11.680] | 想起了吗？没人想为清醒的说唱音乐买帐 |
| [01:13.800] | 这就像是-呆瓜们只会问“那些球员们在哪？我们在哪能见到他们?”（或指没人愿意理解意识说唱的内涵）都是怪人 |
| [01:17.000] | 嘻哈文化变得越来越单调的事实越来越凸显 |
| [01:19.170] | 所以在1992年，我找到了自己的团队（bdp）。他们说，“KRS,这次你想干啥？”（93年以个人名义做歌） |
| [01:22.750] | 我说：“嘿！为什么他们(bdp)想跟我混？要是我打破了和他们的关系我会矛盾不已 |
| [01:27.000] | 如果我成了破坏关系的那个角色，他们便会拆我的台。告诉我究竟该怎么做？” |
| [01:31.000] | 于是我不让他们跟我一起做。突然地这些嘴炮王们就想喷我了 |
| [01:35.250] | “krs-one那怂包还在犹豫不决。”就因为我不让这些rappers跟我混 |
| [01:39.000] | 废渣玩意带上你的笔一起滚吧，如果有rapper想diss尽管来，我会让你折服 |
| [01:42.650] | 但我和我的朋友们就这么算了 |
| [01:44.680] | 我实在不想和那些家伙在笔杆子上坐死。所以，我又继续做我的“hiphop老师” |
| [01:49.000] | 93年hiphop就像个怪人，回首前人之迹。 |
| [01:52.490] | 994年“Return of the Boom Bap”发布了。这张专的完成要归功于Harry Allen的“说唱文化研究所” |
| [01:58.430] | 95年Blowing up这张专让我看到有思想的说唱依旧存在 |
| [02:02.550] | 但没人想要清醒地去唱、去说，没人肯定它，他们还活在这该死的混沌现实中 |
| [02:06.660] | 96我依旧没有停止我所做的事，我和我的兄弟搞起了the Temple of Hip-Hop |
| [02:10.790] | 它的内容不仅仅包含了DJ、霹雳舞、涂鸦和说唱，而且还告诉你hiphop如何影响到我们的思想 |
| [02:14.790] | 走进同一个世界”这就是我在做的 |
| [02:17.000] | 年我细心地栽培我的孩子（作品），但我不得不离开 |
| [02:20.510] | 因为纽约的那些的DJ们改了他们的flows，穿着的风格换了，身边的女人也都换了个遍。但我不会因此而改变。 |
| [02:24.450] | 我要是去MTV跳舞的话会被骂的狗血临头 |
| [02:26.460] | 于是在98年我开始仔细考虑未来，我是应该现在退出说唱圈还是继续等待？ |
| [02:30.380] | 如你所知99年我搬到了L.A还找了个在WB的工作 |
| [02:34.560] | 开始每日每夜地学习（哲学）知识来充实我的身心 |
| [02:38.420] | 但你知道出现了什么问题吗? |
| [02:41.000] | 们不花心思改善我的作品，因为他们的眼中只有钱 |
| [02:44.290] | 他们的眼中还有hiphop school和hiphop temple吗？ |
| [02:48.440] | 那些崽子们甚至不想整我的伴奏，但那些冉冉新星们，Dr. Dre, Snoop, Xzibit |
| [02:52.570] | 尤其是Xzibit，他在公司里呆了段时间 |
| [02:54.380] | 那些说唱界的领头人们对我说：“老哥，如需帮助，解囊相助” |
| [02:59.000] | 当我在洛杉矶的时候，老子曾如日中天。不过血帮瘸帮（指一些当头红的rapper）的势头把我压了下来 |
| [03:02.070] | 我永远忘不了和MAD LION和killer pride在跳跳公路车里潇洒的日子 |
| [03:05.500] | 也忘不了我的兄弟们Icy Ice, Lucky Lou，Julio G，Davey D, Ingrid, David Connor.Davey D, Ingrid, David Connor |
| [03:12.300] | 我的团队多了FredWreck和Protest且人数还有所增长。即便如此，团队里和睦一团。 |
| [03:17.690] | 对发家于L.A的temple成员，我精神上和心灵上的捍卫者表示感谢 |
| [03:21.370] | 但在2000年，我渴望去演出。但在公司我又不是什么总经理 |
| [03:25.960] | 所以我辞去工作重新拿起了麦。和Simone说以后的生活就听天由命了 |
| [03:29.800] | 她说：“别太在意这些金钱，做歌的主旨不在于这些。”（告诫勿被金钱迷人眼） |
| [03:33.870] | 嘿！她让我违背了自己的意愿！带我找回了自己！ |
| [03:37.600] | 带我回到了纽约！如今，我有了新的定向！ |
| [03:46.000] | 采访者：KRS-ONE，现在我引述你的一句话说，说唱是我们的产物而嘻哈却是我们生活的方式 |
| [03:52.740] | 是的 |
| [03:54.030] | 采访者：请向大家解释一下为何这么说 |
| [03:55.430] | 嗯~嘻哈走到今天，我们一直在告诉大众，嘻哈不只是音乐形式，它是一种态度，是一种意识，是我们去看世界的方式 |
| [04:05.760] | 所以说唱音乐是我们的产物，而嘻哈，则是我们灵感的源泉 |
| [04:12.000] | 今天我们看嘻哈被分成了九个部分 |
| [04:15.000] | 它包含着霹雳舞，说唱，涂鸦艺术，bbox，街头潮流，街头语言，街头知识以及街头的创业精神-街头交易和街头生意 |
| [04:25.780] | 然后你知道嘻哈来自…… |
| [04:29.900] | 70's 嘻哈源于DJ Kool Herc--在70年代早期创造嘻哈的始祖 |
| [04:37.500] | 后来Afrika Bambaata和Zulu Nation开办了The Infinity Lessons，而且在嘻哈里加入了自己的理念 |
| [04:43.190] | 再后来Grandmaster Flash发明了混音技术，在Run-D.M.C.和我的音乐都有用到 |
| [04:51.420] | 我们举办了一个叫"停止暴力"的活动，说起这个你会想起一首歌叫Self Destruction |
| [04:58.700] | 我们所做的这一切是想通过这个文化活出自己的味儿，也尽起我们对社会的责任。 |
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