Knowledge Reigns Supreme-Over Nearly Every One
Fighters of the living root, children on the vegan branch
Taught to love cows, pigs, goats and lambs
So out they mouth they hate rats, snakes and blue ham
Napoleon’s decree, Black Privilege, in their class tablets
#RespectFAKE zombies out the snare coffins cruise
into the savageries of my babies teaching
I’ve taught them they Original, supreme in the mind
And can’t be touched,
A blast to them just like that Bronx blastmaster
from his esteemed cassette courses, engaged my supreme alphabet forces
Another child, one more rhyme, will it allow another crime?
If the Teacha teach macro damage then Big Joe Krash gotta sometime shoot the micro savage
All world is mind and all children are mine
Killing Rapists & Sodomites-Of Niños Everyday
The pure fun Stretch and Bobbito brought to airwaves is one of the most natural marvels of culture. Un Boricua, Bobbito, helped inspire my own journalistic diversity. That if we write we can also do radio–we can master all media. And yet in all of my airtime, I only always took it as communications with the trenches. Trenches of savages sulking, warriors working and babies bulking. For my people, a researched benefit they need, an assumed medicine at my most arrogant. All because Hip Hop is worthless fun, another jungle genre, another parade of conga, bongo, timba— just lone yet lovely digital drum dumbing if it don’t build. It needs the depth of the rewind that lets the blind find. Now, in this extremely underground career I’ve had the joy of engaging in, the rewind is clamped and pop bound with repeat bliss and no work to attain in edutainment. A writer of my own element in a Nigga States period, outdumbed in the #RespectFAKE era.
Now then, with the documentary on Stretch and Bobbito’s Radio That Changed Lives, it seems easy to laugh at the deep thinker and proclaimed philosopher, gratuitously rhyme original material on November 2nd, 1995 on some history shit. Apparently, he was the butt of the joke as Zuhirah Khaldun-Diarra tells of KRS’ bars to her professor to validate Hip Hop and is grossly wrong as she is told that the British never were in Angola. But Knowledge really did reign supreme and KRS-One was right and exact. His verse, played in the doc, actually was speaking on the continued massacre of Africans and spoke first on the Bambatha Rebellion, a Zulu revolt against British rule in 1906 that led to great casualties (“On January 30th, 1906, 3,000 Africans were killed by some Brits/they don’t quit/British troops to be exact/it’s called the Bambatha massacre/this took place in South Africa…”) then forwarding to 1978 to reveal the continuing hells with the Kassinga Massacre continuing his verse, “…May 4th, 1978/they’re still killing/700 African men, women and children/tell the world I told you/this particular killing took place in Cassinga, Angola.”
See, I’ll have to note how KRS got the wrong Beastie Boy, Ad-Rock instead of MCA, on the RIP track (“Hip Hop Speaks From Heaven”) and we love the babies so we’re fucking sick and tired of rational thinking on anything Bambaataa allegedly did. Yet, my brother Napoleon Da Legend noted Black Privilege and I stretch it to a strong insight, not to bobbito out of mistakes but to understand a legend’s arms. KRS-One has Black Privilege. It isn’t because he has presented works with pioneering skill and talents that have left multiple classic LPs. It is that they have always been done with integrity and most of all, they have expressed an insight that, when most complex, confused and convoluted, continues to consistently reveal itself as a delayed truth of the most useful. The shit demands rewind and reflection and often lends itself to revelations. So he has earned the Black privilege whereupon hearing something odd from KRS, we merely can’t just say, “this nigga, psssst…”
From the convoluted skits on 2010’s Meta-Historical with the discernment between the wholistic versus linear perspectives of historicizing our Hip Hop and/or Black history that literally are explained in depth in his The Gospel of Hip Hop book and applied intriguingly in that book’s final chapter on Hip Hop’s beginnings. From the confused bombing of the Gods in 1992 (“Build or Destroy” on BDP’s Sex And Violence LP) as supposedly just studying Clarence 13X. All until I personally conducted a three hour interview with him that clarified his position of learned respect for the depth of my fellow 5% Nation of Gods and Earths. A respect that led to the DJ Premier produced “5%” track with the God Grand Puba and salutes to the same school Allah the Father (misnamed Clarence 13X) founded I’ve had the honor of teaching at so many years. And from the complex metaphysical prophesizing from “Fourth Quarter-Free Throws” to this LP’s title track, the universe is just a created platform for what we intend to do. And yet KRS will talk about God mysteriously in so many ways yet always conclude and substantiate definitively that it is all just us creating. He has defined Black in so many ways that seem to just be about African American or a particular phenotype of African, or a Moorish mis-view where Black isn’t real (“I’m not white or red or Black/I’m Brown! from the Boogie Down…”). Yet it all, in deeper thought, goes back to the diaspora of Black (Black, Brown and Yellow) and the more profound depth of the universal Black mentality that puts us as creators of all this universe from Black space to all civilizations. This all substantiated in an elaborately explained, useful view of unified Blackness on his recent Black History Lessons 1-2 Lecture LP.
A heavy Black Privilege, a dopeness of doing that doses a benefit of doubt even when there appears to be wrong. Dopeness, if we said KRS was an absolute GOAT candidate, it’s clear. If we were really honest, his work and achievements make him the only one that must be outmatched. His first nine LPs from BDP to solo are all classic and/or superior works in the most competitive filled golden eras of the genre. His books from the aforementioned Gospel to the MC codebook/poltico-socio-cultural analysis, Ruminations, are valuable crates that expand his theses on all things he’s beat barred on. Even during the #DarkAges, them 2000’s, with his quantity overloading the quality, there are still consistent successful experiments that can inspire careers whilst his work in this #InvisibleRenaissance/2010’s have seen his pioneering concept writing merge with lengthier treatises into anthemic cures versed.
The arrogance of the sight of teaching often masks the humility of obsessive study to bathe away what is wrong with more and more right the teacher actually engages in. And in a music of complete bravado, that mask has truly turned on KRS where more refuse to see his sincerity despite its displays of humanity for so long. And so, even #SkillastratorLO here, a younger street teacher of hundreds, who never learned to rap better but certainly share greater from KRS, doubted him absolutely with his support of alleged pedophile Afrika Bambaataa. So when our lynch mobs were weaponized, KRS said, “I don’t apply my mind to gossip and slander. Slandering the accused for the sake of slander is not justice, nor is it the seeking of justice. I would like to see justice and healing for both the accusers as well as for the accused. But continuous slander and disrespect are not healing anyone or even correcting the situation. Disrespect and slander is NEVER an indicator that true justice is being sought.” And now, as it seems, we the people, feel so much more grandiose in declaring our love for the children, our hatred for the oppressor of the pedophile prowler that time has passed and little has been done. We may conveniently ruin Bam’s legacy in our mind as its effects (mainly rallying the elements under the name of Hip Hop) have already been absorbed and his wealth is not riding fiscal elevator 444, able to peddle a sympathetic product that humanizes himself. And more importantly, no useful proposals have been shared in ciphers on how we may truly protect our young boys from the harm of any fiendish exploiter. In a musical world, as I named the #InvisibleRenaissance, then the #VisibleDegradation is what most have seen, truly the most cleverly tuned industry exploiting and amplifying the worst of our young Black brothers and sisters’ vices and escapist ploys. The cynical expectation that anyone with decades of integrity and the highest musical standard has only been a manipulator of a distinct niche becomes sensible. It justifies the embrace of the popular, turning a listener to a purchasing follower and Christianizes our culture made. We are creating via sin, listening with sin and are only at the mercy of the ideal of Hip Hop that we never really will reach.
So all mumbles on and on, we wonder what will be here forever? Knowledge. An actual fact, a true idea created, and so I can only study deeper what I have on play until KRS and I may build again. So, I acknowledge the Black Privilege that KRS-One has. And as I first met him ushering me into the United Nations building in 2000 to declare Hip Hop as a culture to the world, I will walk through this work. The World Is Mind, another scroll of songs, continuing to see sincerity in intent and emerging lessons from his mistakes and experiments in truth. When KRS admitted his mistake on “Hip Hop Goes To Heaven,” he noted the oddity that his work is recording quickly and mostly freestyle “off the top of the head.” Unfortunately, this makes sense as a large of amount of LP work since the #DarkAges has caused many songs to suffer with a slower cohesion in flow intensity particularly his opening 9 LP run. However, on World is Mind, too many of the songs are with powerful concepts and techniques applied for the excuse to seem logical. So many seedless seems, here we see the strength of the songs’ seams and see a seething strategy in his song crafting that is admirable.
Vocal power, exact enunciation and absolute clarity are impeccable on tracks and if ageism is an issue then it must be astounding. As on verse two of “Raw B.E.A.T.” where he dives in, “Welcome to the boom bap, yo who’s that over the two track/I’m hungry for the boom bap, you knew that shit so I dos that/The hood is where I grew at, enlightenment I pursue that/That boom-bap I renew that and microphone check one-two that/That writing emcee and graffiti DJ and we does that…” He never addresses the Bam perspective directly but “Keep Flowin” angrily clarifies, “I represent leadership/readership/teachership/speakership/Culture keeper cause the culture we’re keeping it/Truth I’m speaking it/critics want to weaken it/Printing gossip and bullshit/and the people believing it…” Again, the Black Privilege KRS is given allows us to reference that 800 page Gospel of his where he speaks about the consistent destruction of Black leadership and the need to protect our leaders. This politico-social perspective greatly affects his focus on refusing to acknowledge the emphasis on the Bam allegations. Instead, focusing on what can be cherished, preserved and promoted which for KRS is the actual culture of Hip Hop that can be worked to prevent that horror from ever happening again. See, as KRS noted in his Drink Champs interview, where the controversial pull quotes derived, the missed thought was his seeing Hip Hop as a savage and ignorant culture, literally something that derived from the gutter. That, like the lotus flower, sprouting a wonderfully beautified growth out of the filthiest feces, Hip Hop has and can ever mature to those higher levels. With that mindset, the definitive “You Like Me,” is the issue that he most confronts us with and with potency he rhymes, “As long as I’m dancing/acting/or rapping/walking around like I don’t know what’s happening/You like me/If I’m talking about drinking and nothing about thinking/ As long as I’m always high/and I never ask why/You like me/But the second I start with the state of the economy, Black leadership, Black Gods and Black sovereignty/that’s when you can’t seem to follow me/confusion/you feel like you losing/I’m no longer amusing/this song’s about choosing…Black entertainment or the Black revolution…”
Techniques are ever prevalent from the B..B..B.. alliteration that accentuates the rhythm in a scatting effect on “Fuck This” or the African linguistics of “Keep Clicking” or the consistent use of building chants in verses as on “Don’t Ever Stop.” Only with a beat selection that is expected, strongly made but innovatively neutral, there are no gross flaws on The World is Mind. So the listener will only point supposed hypocrisies as “They will witness injustice but they will not fuss.” The contradiction is that KRS is literally telling us he is focusing on what he sees on the greater fuss, the one that can be attacked. A contradiction that a teacher who doesn’t always make ideas and intentions clear but like all of time’s educators is still learning themselves. And that larger fuss is the metaphysical truth that “you create your reality, the world is mind,” and these go through his personal journey where he manifested “My Dreams,” toward an intensity to waking and making something happen (“You Ain’t Got Time”). The World Is Mind is another testament that a man with great creations and works from LPs, Hip Hop and Black history lectures and community development through Hip Hop culture that, when a deeper look is taken, have been the riskiest ventures, he has earned Black Privilege with this author of his own element. Prepared to pounce any pedophile, I still work to understand the larger picture of revolution that KRS-One has never wavered in focusing himself and us on to. In a #RespectFAKE world, where a rapping billionaire, with a litany of transgressions and only the posing promise of leading revolution, year after year, release after release, KRS-One is at the other spectrum. One whom I have learned more of sacrifice from, documented his revolutionary actions that have not always succeeded and one whose thematic content of enlightenment fluctuates in perspective but never in the ultimate positive intent, this Black Privilege is in effect until the next build.
#LOVEandLOYALTY A #LoLife
The organization of these principles around a counterculture, an expressive arts of creation that uplifts the ideas and thoughts of an oppressed people, is why I’m an honored builder amongst legends, knighted by heroes of Medina (Rakim Supreme Shabazz Allah/Rudy Lo, Thirstin Howl the 3rd, Bonz Malone) to further create in my element as a Hip Hop Writer of #ArtOnArt & #ScienceOnMusic. So the world may find love that locks in with the action of loyalty though they may never find another writer with my kind of grammar…
Representing the pillars of:
Peace, Sunez Allah