The ancestor of hip hop arrives in the capitol of cali, chanting "impact over income!"

#Clackclackclackclack!! #Concertsurfin #krs #teacher #stepintomyworld #hiphop

krs one

Krs-one was born on August 20, 1965, in Brooklyn, New York, and his real name is Lawrence Krisna Parker.

KRS-One first gained fame as a member of the Boogie Down Productions hip hop group in the 1980s. He is known for his socially conscious and politically charged lyrics, which often address issues of racism, poverty, and social injustice. Some of his most famous songs include "South Bronx", "The Bridge Is Over", and "My Philosophy".

In addition to his music career, KRS-One is also an activist and has been involved in various social and political causes over the years. He has been an advocate for education, particularly in the field of hip hop, and has also been involved in efforts to combat police brutality and promote racial justice.

KRS-One continues to be an influential figure in hip hop and is widely regarded as one of the greatest MCs of all time.

"My Philosophy" is a song by Boogie Down Productions, released in 1988. It was written by KRS-One, who is the lead vocalist of the group.

The song's lyrics focus on KRS-One's personal philosophy and his belief in the power of knowledge and education. The chorus of the song is a simple but powerful statement: "You can't change the world unless you change yourself."

In the verses, KRS-One discusses various social and political issues, including racism, poverty, and the criminal justice system. He also addresses the negative influence of drugs and violence in hip hop culture.

The song is notable for its use of a sample from "The Champ" by The Mohawks, which provides the song's distinctive horn riff.

"My Philosophy" is considered one of Boogie Down Productions' most popular and influential songs, and is often cited as a classic of golden age hip hop.

"Sound of da Police" is a song by American rapper KRS-One, released in 1993. The song is known for its catchy beat and powerful lyrics, which focus on the issue of police brutality and systemic racism in law enforcement.

The song's chorus, "Woop-woop! That's the sound of da police!", has become a cultural reference and has been sampled and referenced in numerous other songs and media.

The song's lyrics touch on themes such as racial profiling, police corruption, and the historical mistreatment of Black people by law enforcement. KRS-One's forceful delivery and pointed lyrics make "Sound of da Police" a powerful and memorable track that continues to resonate with audiences today.

"Self Destruction" is a song by KRS-One and the Stop the Violence Movement, released in 1989. The song was a response to the growing problem of violence and gang activity in the African-American community, particularly among young people.

The lyrics of "Self Destruction" encourage listeners to put an end to violence and promote peace and unity instead. The song features contributions from some of the most prominent rappers of the time, including Kool Moe Dee, MC Lyte, Public Enemy, and Doug E. Fresh.

"Self Destruction" was a critical and commercial success, and it helped to raise awareness about the need for nonviolence and community empowerment.

The song remains a powerful reminder of the importance of unity and self-respect, and it continues to inspire young people today to work for positive change in their communities.

KRS-One, also known as "The Blastmaster," is an American rapper, songwriter, and record producer.

KRS-One is considered to be one of the pioneers of hip hop and is known for his socially conscious and politically charged lyrics.

KRS-One first gained fame as a member of the group Boogie Down Productions, which he formed with DJ Scott La Rock in 1986. The group released several influential albums, including "Criminal Minded" and "By All Means Necessary," which addressed issues such as police brutality, racism, and social inequality.

After the death of Scott La Rock in 1987, KRS-One continued to release solo albums and collaborate with other artists. He has been recognized as one of the most influential and innovative figures in hip hop and has won several awards for his contributions to the genre.

Throughout his career, KRS-One has remained committed to using his music to educate and inspire his audience. He has also been involved in various philanthropic and educational initiatives, including the formation of the Temple of Hip Hop, a non-profit organization that promotes hip hop culture and values.KRS-One, also known as "The Teacha", is an American rapper, activist, and philosopher.

La bamba!! Everyone on the planet know and love this song right?

This year the band LOS LOBOS is celebrating their 50th year together and are thrilled to be touring again, especially with a return to the Pacific Northwest. “We always enjoy coming back to the Northwest and had some fun shows in the Puget Sound area over the years,” Steve says. “I had a personal connection to Olympia when my daughter went to school at evergreen, so I am looking forward to coming back to my favorite spots like for some batdorf and bronson.”

In 1973, Los Lobos entered the music scene, boasting a brave new sound while capturing their Mexican heritage. Over the years, they developed their sound by incorporating elements of rock n’ roll, blues, country, and Latin music. “We aren’t easily pigeonholed outside of our Latino heritage,” shares Los Lobos Saxophonist and Keyboardist Steve Berlin. “In many respects the band never changed as we have gone off on our own way to invent something that we own and I don’t think we really sound like anybody else. What we do is unique and we take a lot of pride in that.” Los Lobos features Steve Berlin on saxophone and keyboard, David Hidalgo as singer, guitarist, and primary songwriter, Louie Perez on drums, guitar, and songwriting, Cesar Rosas as the third guitarist, and Fredo Ortiz on drums. Unfortunately, their bass player Conrad Lozano won’t be touring with the band this year, so David Hidalgo’s son Vincent Hidalgo will be taking the stage with them.~~

LOS LOBOS came thru and did the damn thang!! When you get the chance, please go check these guys out! even if you've seen them live before, go see them again and again and again.... Bravo los lobos!!!

The hit film “La Bamba” rocketed them to stardom with their beloved covers of Ritchie Valens’ songs. The soundtrack for the movie featured many hits, with the title track becoming number one for the band. “It was surprising to say the least,” Steve recalls. “When we were working on ‘La Bamba,’ it at no time seemed like it was going to be a hit movie. It was just timed right, it was soulful, and it was the summer hit so we were it for that year. It changed everything.” Though “La Bamba” brought amazing new opportunities, the band really worked to establish their own separate sound and fanbase through their unique sound.

"La Bamba" (pronounced [la ˈβamba]) is a Mexican folk song, originally from the state of Veracruz, also known as "La Bomba". The song is best known from a 1958 adaptation by Ritchie Valens, a Top 40 hit in the U.S. charts. Valens's version is ranked number 345 on Rolling Stone magazine′s list of the 500 Greatest Songs of All Time.

"La Bamba" has been covered by numerous artists, notably by Los Lobos whose version was the title track of the 1987 film La Bamba, a bio-pic about Valens; their version reached No. 1 in many charts in the same year. The Belgian Electronic band "Telex", the trio who made the worldwide successful "Moskow Diskow," also created a downbeat electronic cover of it, which is the final track in their final album "How Do You Dance?".

Traditional Versions

"La Bamba" is a classic example of the son jarocho musical style, which originated in the Mexican state of Veracruz, and combines Spanish, indigenous, and African musical elements. The song is typically played on one or two arpa jarochas (harps) along with guitar relatives the jarana jarocha and the requinto jarocho. Lyrics to the song vary greatly, as performers often improvise verses while performing. However, versions such as those by musical groups Mariachi Vargas de Tecalitlan and Los Pregoneros del Puerto have survived because of the artists' popularity. The traditional aspect of "La Bamba" lies in the tune, which remains almost the same through most versions. The name of the dance referenced within the song, which has no direct English translation, is presumably connected with the Spanish verb "bambolear", meaning "to sway", "to shake" or "to wobble". In one traditional version of this dance performed at weddings and ballet folklórico shows, couples utilize intricate footwork to create a bow signifying their union.

Early Recordings

"La Bamba" has its origin in the state of Veracruz, Mexico. The oldest recorded version known is that of Alvaro Hernández Ortiz, who recorded the song with the name of "El Jarocho". His recording was released by Victor Records in Mexico in 1938 or 1939, and was reissued on a 1997 compilation by Yazoo Records, The Secret Museum of Mankind Vol. 4.

According to a 1945 article in Life, the song and associated dance were brought "out of the jungle" at Veracruz by American bandleader Everett Hoagland, who introduced it at Ciro's nightclub in Mexico City. It became popular, and the song was adopted by Mexican presidential candidate Miguel Alemán Valdéswho used it in his successful campaign. Later in 1945, the music and dance were introduced at the Stork Club in New York City by Arthur Murray.

A popular version by Andrés Huesca (1917–1957) and his brother Victor, billed as Hermanos Huesca, was issued on Peerless Records in Mexico around 1945–46. Huesca re-recorded the song for RCA Victor in 1947, and the same year the song featured as a production number in the MGM musical filmFiesta, performed by a group called Los Bocheros. The song was featured in the 1946 Mexican movie Rayando el Sol starring Pedro Armendáriz.[citation needed]

The Swedish-American folk singer William Clauson recorded the song in several languages in the early and mid-1950s. He claimed to have heard the song in Veracruz, and in performance slowed down the tempo to encourage audience participation. Another version, "somewhat bowdlerized", was recorded by Cynthia Gooding on her 1953 Elektra album, Mexican Folk Songs.

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