An Analysis of Mc Krs-One and His Lyrics

CHAPTER 3

AN ANALYSIS OF MC KRS-ONE AND HIS LYRICS

The Curriculum of Power and Privilege in Rap Music

Through the use of a bricolage (explained in detail in chapter 6), I found that the themes that permeate KRS-ONE’s rhymes include power, race, class, intellect/ knowledge and social justice. These themes, which emerged from my examination of the lyrics that I chose, fall into four categories or power institutions: media, government, police, and education. These institutions and their dominant roles in society are the primary targets of KRS-ONE’s lyrics. However, the songs of KRS-ONE that critique these institutions are only part of a larger “discursive struggle over legitimate interpretations of Black expression, urban America, and Black contemporary youth(s)” (Rose, 1994a, pp. 105–106). Rose further contends that the critique and exploration of such subjects in rap music are not often given much attention by the mainstream media, and refers to this phenomenon as “the hidden politics of rap” (p. 106). Before exploring these themes, I discuss two sub-themes that emerged from KRS-ONE’s rhymes worth exploring: first, identifying rap as a legitimate and valid art form; and second, a comparison of old versus new styles of Hip Hop music.

THE VALIDITY OF RAP: INSPIRING OR DEMORALIZING? The first sub-theme concerns the legitimacy of Hip Hop music as a valid, valuable form of music, or as KRS-ONE writes: People still taking rapping for a joke A passing hope or a phase with a rope. (“I’m Still #1,” By All Means Necessary, Jive Records, 1988) As KRS-ONE describes in his song “I’m Still #1,” because of Hip Hop’s longevity in the music industry, it has remained a stable force since its beginnings in the early 1970s. And based on its growing popularity worldwide, rap music appears to have built a permanent home in the music industry. Despite Hollywood’s earlier assumptions about, and mockery of, Hip Hop culture, Hip Hop has proven to be more than a trend, fad, or “passing hope.” KRS-ONE goes to great lengths to validate Hip Hop culture by providing various definitions of what it is, and the important contributions rap has made and continues to make in the recording industry. Attitudes and perceptions of rap music vary greatly with positive and negative images, whether it is portrayed by the media (both positively and negatively) or discussed by politicians, educators, and cultural theorists as to whether or not rap is a genuine musical art form. Opponents (and proponents) may perceive rap as degrading, misogynistic, violent, homophobic,

83 CHAPTER 3 or simply “ugly noise,” while proponents argue that rap can be used as a vehicle for social change or cultural practice, to educate people about the meanings behind the lyrics, substantiating and validating the cultural capital it holds for many of its listeners (Best & Kellner, 1999; Rose, 1994a; Dyson, 1989). KRS-ONE assertively declares that he is an MC for “his” people, the Hip Hop generation, and particularly urban youth, although they are not the target audience in all of his songs (I briefly address his audience later). He also asserts that Hip Hop music is the vehicle to educate others on the trials and tribulations of life in poor urban communities. He begins the album Edutainment with a lecture-style introduction in the first track, entitled “Exhibit A.” Before he begins, though, listeners hear a barrage of clapping and barking in the background, creating a feeling of anticipation and excitement among the audience, perhaps in hopes of gaining knowledge from “The Teacha:” Rap music What does it mean? What is everybody buying rap for? Why do people get involved in rap music? Rap music, number one is the voice of Black people, number one Number two, it’s the LAST voice of Black people. (“Exhibit A,” Edutainment, Jive Records, 1990) KRS-ONE continues his lesson declaring Black people have had a major influence in the creation of “every music” heard on the streets today, and accuses the music industry of exploitation and thievery: Black people have created every music you hear out here in the streets today Every single music, Rock-n-Roll down Therefore, in a situation that has all African music in it All African music, ahh, exploiting itself of it, or coming out of it All African influence in all its music And you have what is called American Music Awards You have what is called theft (“Exhibit A,” Edutainment, Jive Records, 1990) In fact, rap music, in the form of toasting as described in Chapter 2, is a descendant of African heritage and culture. Historiographer David Toop argues in his book The Rap Attack (1984) that the foundation of rap can be traced back to early twentieth-century African-American poetic traditions. He states: . . . Rap’s forbears stretch back through disco, street funk, radio DJ’s, Bo Diddley, the bebop singers, Cab Calloway, Pigmeat Markham, the tap dancers and comics, The Last Poets, Gil Scott-Heron, Muhammad Ali, a cappella and doo wop groups, ring games, skip rope rhymes, prison and army song toasts, signifying and the dozens . . . . No matter how far it penetrates into the twilight maze of Japanese video games and cool European electronics, its roots are still the deepest in all contemporary Afro-American music. (cited in Rose, 1994, p. 85)

84