KRS-One, originally a member of the hip hop crew Boogie Down Productions, is known for setting the path for both hardcore rap and socially conscious political rap.
Youth and early career
Born Lawrence Parker in the Park Slope neighborhood of Brooklyn in 1965, the future KRS-One grew up with his brother Kenny and their single mother in assorted inner city neighborhoods of Brooklyn and the Bronx. According to interviews with The Source Magazine, one fateful day when he was 12 years old, he and his brother Kenny prepared a pan of flavored rice, which was to be the family's dinner for the evening. The hungry pair ate the whole thing, and when their mother came home from work, she kicked them out of the apartment in a fit of anger. They stayed away for two days before younger Kenny decided to go back home, while Lawrence opted not to return. He spent the better part of the next seven years homeless, much of it at local libraries.
In his late teen years, Lawrence Parker fell in with some illegal drug dealers and became a courier. Using a bread delivery truck as a cover, Parker and his partner drove around town to make drops. During one of their trips, a police car pulled up behind them with flashing lights. Parker's partner panicked, and led the cops on a chase for several miles which ended with the truck crashing and the two being apprehended. At the trial, the judge made the commentary that the only reason the police had initially tried to pull them over was because they had private plates on a commercial vehicle, there was no original intent to search for drugs.
Parker, still a minor, claimed he was a ward of the state, and got sent to a juvenile home for his sentencing, after which he was moved to a Covenant House youth homeless shelter. It was there that he met Scott Sterling, a recent college graduate who just started working at the shelter as a social worker. Parker discovered that Sterling moonlighted as a hip hop DJ under the name Scott La Rock. By this time, Parker had earned the nickname "Kris" from the relationship he had developed with local Hare Krishnas that evangelized near the shelter. Heavily influenced by Eastern philosophies, he was also an aspiring rapper, and practiced routines in verbal spars with the other shelter residents.
Parker and Sterling, along with two other fellows, decided to form a rap group together, initially calling themselves "Scott La Rock and the Celebrity Three". That was short-lived, however, as the two peripheral members quit, leaving Parker (now calling himself KRS-One) and Sterling. They then decided to call themselves "Boogie Down Productions". Success is the Word, a 12-inch single release on indie Fresh/Sleeping Bag Records (under the group name "12:41") did not enjoy commercial success. Soon after, the pair approached another NY indie, Rock Candy Productions, for a deal. As it turns out, the entertainment company was allegedly a front for a pornography operation, but Parker and Sterling convinced the boss to front them the money to record an album, under the newly created subsidiary label, B-Boy Records. After a few 12-inch single releases, the Criminal Minded album finally surfaced in 1987.
Criminal Minded featured many dis tracks that attacked other hip hop emcees and tracks about street crime ("wa da da deng wa da da da deng, listen to my nine millimeter go bang"). KRS One and La Rock appeared on the cover of the album holding firearms, a controversial precedent that would be followed by many rap artists in the years to follow. Musically, the album was based around James Brown samples and reggae influences. They also sampled hard-rock band AC/DC on "Dope Beat". During these years, KRS-One was also famously involved in a hip hop battle with MC Shan, of Queensbridge. KRS objected to MC Shan calling Queensbridge the home of hip hop, and attacked him viciously on a seminal battle rap, The Bridge Is Over.
Later career and emphasis on political issues
Following the fatal shooting of Scott La Rock in 1987, Boogie Down Productions (BDP) became increasingly political. KRS One was the primary motivation behind the HEAL compilation and the Stop the Violence Movement. KRS One attracted many prominent emcees to appear on the 12-inch single "Self Destruction." As Parker adopted this more conscientious, less violent approach, he stopped calling himself "The Blastmaster" (his battle rap nickname), and instead began calling himself "The Teacha", turning the nickname KRS-ONE into the backronym "Knowledge Reigns Supreme Over Nearly Everyone".
On his first solo album, 1993's Return of the Boombap, KRS worked together with producers DJ Premier (Gang Starr), Showbiz and Kid Capri. The catchy yet very hardcore track "Sound of da Police" is featured on this album. His second album, KRS One featured Channel Live on the track "Free Mumia", a political protest song about Mumia Abu-Jamal, an imprisoned African-American and Black Panther member who a vocal group of activists on the political Left claim is innocent of the crime of which he was convicted. Other prominent guest artists on KRS One included Mad Lion, Busta Rhymes, Das EFX and Fat Joe.
In 1997, Parker surprised many with his release of the album I Got Next. The record included a remix of the single "Step into a World" which featured a sample from the 1970s rock group Blondie by commercial rap icon Puff Daddy. "Heartbeat", featuring Angie Martinez and Redman, was based on the old school classic "Feel the Heartbeat" by the Treacherous Three. These collaborations with notably mainstream artists took many fans and observers of the vehemently anti-mainstream KRS One by surprise. However, in August 1997 KRS One appeared on Tim Westwood's BBC Radio 1 show and vociferously denounced the DJ and the radio station more generally, accusing them of ignoring his style of hip-hop in favour of commercial artists such as Puff Daddy.
In 1999, there were tentative plans to release an album called "Maximum Strength"; a lead single, "5 Boroughs", was released on The Corruptor movie soundtrack. However, KRS apparently decided to abort the album's planned release, just as he had secured a position as a Vice-President of A&R at Reprise Records. KRS moved to southern California, and stayed there for two years, finally ending his relationship with Jive Records with A Retrospective in 2000. The next year, he resigned his position at Reprise and in 2001 The Sneak Attack was released on Koch Records. In 2002, he released a gospel-rap album, Spiritual Minded, surprising many longtime fans. Parker had once denounced Christianity as a "slavemaster religion" which African-Americans should not follow. He founded the Temple of Hiphop, and released a new album, Kristyles, in mid- 2003, which was preceded by KRS-One: The Mixtape. In the summer of 2004 he released Keep Right.
KRS One's latest CD Life, was released in June 2006, and another CD, Adventures in Emceein on Koch Records is slated for later in the year. KRS has also confirmed for his next album of new material, expected to be out in 2007, he will be working with Marley Marl.
September 11 comments and ensuing controversy
In 2004, KRS engendered a controversy when he was quoted in a panel discussion hosted by New Yorker Magazine as saying that Blacks "cheered when 911 happened". The comment drew criticism from many sources, including a pointed barb by the New York Daily News that called Parker an "anarchist" and said that "If Osama bin Laden ever buys a rap album, he'll probably start with a CD by KRS-One."
Parker responded to the furor surrounding his comments with an editorial written for AllHipHop.com. In it, Parker said "I was asked about why hiphop has not engaged the current situation more (meaning 911), my response was 'because it does not affect us, or at least we don’t perceive that it affects us, 911 happened to them'. I went on to say that 'I am speaking for the culture now; I am not speaking my personal opinion.' I continued to say; '911 affected them down the block; the rich, the powerful those that are oppressing us as a culture. Sony, RCA or BMG, Universal, the radio stations, Clear Channel, Viacom with BET and MTV, those are our oppressors those are the people that we're trying to overcome in hiphop everyday, this is a daily thing. We cheered when 911 happened in New York and say that proudly here. Because when we were down at the trade center we were getting hit over the head by cops, told that we can’t come in this building, hustled down to the train station because of the way we dressed and talked, and so on, we were racially profiled. So, when the planes hit the building we were like, 'mmmm, justice'. And just as I began to say 'now of course a lot of our friends and family were lost there as well' but I was interrupted..."
Attendance
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Who was the first to flash the heat on the cover?
Who was the first crew to go against another?
Who was the first to go acapella on a video replay?
Who was the first to lose a DJ?
Who was the first to teach at Yale?
Who was the first to hit that hip-hop reggae, on the nail?
Who was the first to say +Stop the Violence+
You're soon to see the mind bendin rhyme weapon
Get more busy than two-two-three-double-nine-seven
All these rappers, swear they the best
I know whatchu thinkin about, "Where's KRS?"
Eighty percent of these rappers fake they {shit}
The other twenty percent they goin upstate and {shit}
There's no way out except knowledge and wisdom
I got it so I spit 'em you ain't got it you gotta get 'em
Who was the first to produce mix and write
At the same time up in the club rockin the mic?
Who was the first to have a DJ and a side man?
The first to say what is hip-hop? "I AM!"
Who was the first to produce gangster {shit}?
Put out, gangster hits with a gangster click?
Not no prankster (shit), Steady be, Mad Lion
Just-Ice, Shabba Ranks and (shit)
My Channel is Live, my only battle is Jive
MC to MC, you won't survive
You'll be censored cause my Crew is 2 Live
I ascend like Christ and watch you die
Breakers (HERE!) MC's (HERE!)
Writers (HERE!) Beat-boxers (HERE!)
DJ's (HERE!) Hip-Hop (HERE!)
Hip-Hop (RIGHT HERE!) Hip-Hop (RIGHT HERE!)
Breakers (HERE!) MC's (HERE!)
Writers (HERE!) Beat-boxers (HERE!)
DJ's (HERE!) Hip-Hop (HERE!)
Hip-Hop (RIGHT HERE!) Hip-Hop (RIGHT HERE!)
[KRS-One]
I'm like Noah, I'm takin 'em, two by two
I took, them and them and I'll take, you and you
Be I'm right or be I'm wrong
You'll see I'm tight with this mic, you should be like, "be I'm gone"
But you still in my face Neo, I'm not your girl
All that ice and thug life, that's not my world
I'm the teacher, but you still can't see
Cause while you respect Tupac, Tupac respected me
Another thing; don't ever show me another ring
Remember you Rudy Ray Moore, I'm Martin Luther King
Everything you bring sounds horrendous
You need repentance, 'fore I take attendance
Breakers (HERE!) MC's (HERE!)
Writers (HERE!) Beat-boxers (HERE!)
DJ's (HERE!) Hip-Hop (HERE!)
Hip-Hop (RIGHT HERE!) Hip-Hop (RIGHT HERE!)
[Hum's melody]
Breakers (HERE!) MC's (HERE!)
Writers (HERE!) Beat-boxers (HERE!)
DJ's (HERE!) Hip-Hop (HERE!)
Hip-Hop (RIGHT HERE!) Hip-Hop (RIGHT HERE!)
The lyrics of KRS-One's song Attendance is all about acknowledging the pioneers and trailblazers of the hip-hop industry. In the first verse, KRS-One asks several questions about hip-hop history, mentioning the first crew to go against another, the first to teach at Yale, and the first to say "Stop the Violence" in a song. He also calls out the fake rappers who claim to be the best but don't have the knowledge and wisdom required in hip-hop. The second verse highlights KRS-One's own accomplishments, as he reminds listeners that he was the first to produce mix and write, among other firsts.
The chorus calls various elements of hip-hop, such as breakers, MCs, DJs, and writers, to come forth and prove their presence in the hip-hop community. The song also addresses the issue of violence and how it plays a role in hip-hop culture, with KRS-One emphasizing that "real bad boys move in silence." Ultimately, Attendance is a tribute to the pioneers of the genre who paved the way for future generations and a reminder that hip-hop's foundations go deeper than just flashy attire, jewelry, and bravado.
Line by Line Meaning
Who was the first to flash the heat on the cover?
Who was the first to use provocative imagery on their album covers?
Who was the first crew to go against another?
Who was the first group to engage in rap battles with other groups?
Who was the first to go acapella on a video replay?
Who was the first to perform a rap song without instrumental accompaniment on a video replay?
Who was the first to lose a DJ?
Who was the first group to lose one of its members, specifically a DJ?
Who was the first to teach at Yale?
Who was the first rapper to give a lecture at Yale University?
Who was the first to hit that hip-hop reggae, on the nail?
Who was the first to successfully blend hip-hop and reggae music together?
Who was the first to say +Stop the Violence+
Who was the first to advocate for an end to violence in hip-hop culture?
And teach that real bad boys move in silence?
Who was the first to teach that true gangsters don't brag or boast about their activities?
You're soon to see the mind bendin rhyme weapon
Listeners will soon witness the impressive lyrical ability of the rapper.
Get more busy than two-two-three-double-nine-seven
The rapper is more active and productive than many others in the industry.
All these rappers, swear they the best
Many rappers claim to be the best or most talented in the game.
I know whatchu thinkin about, "Where's KRS?"
The rapper is aware that some listeners may wonder where he is or why he doesn't appear in every song.
Eighty percent of these rappers fake they {shit}
The majority of rappers are not authentic or genuine in their lyrical content.
The other twenty percent they goin upstate and {shit}
A minority of rappers are genuine, but they often face negative consequences for being real or honest in their songs.
There's no way out except knowledge and wisdom
The only way to escape negative consequences and succeed in the industry is through education and intelligence.
I got it so I spit 'em you ain't got it you gotta get 'em
The rapper has acquired knowledge and wisdom, and he shares it with those who don't yet have it.
Who was the first to produce mix and write
Who was the first artist to produce, mix, and write their own songs?
At the same time up in the club rockin the mic?
Who was able to simultaneously perform their own music while on stage at a club?
Who was the first to have a DJ and a side man?
Who was the first group to have a DJ and another member who provided additional support, known as a side man?
The first to say what is hip-hop? "I AM!"
Who was the first to stake claim to the creation or definition of hip-hop music?
Who was the first to produce gangster {shit}?
Who was the first to create music with violent or criminal themes, often referred to as gangster rap?
Put out, gangster hits with a gangster click?
Who was the first to release violent or criminal-themed songs with a group of like-minded individuals?
Not no prankster (shit), Steady be, Mad Lion
This is not some joke or silly endeavor; the artists mentioned are serious about their music and their image.
Just-Ice, Shabba Ranks and (shit)
More examples of serious artists who create violent or criminal-themed music.
My Channel is Live, my only battle is Jive
The rapper's platform is active and engaging, and he faces no true adversaries besides record labels or other industry entities that may try to control or exploit him.
MC to MC, you won't survive
In a battle of rapping skill, the rapper asserts that he would come out on top and crush his opponent.
You'll be censored cause my Crew is 2 Live
The rapper has connections to the successful and controversial group 2 Live Crew, suggesting that he has influence and power in the industry.
I ascend like Christ and watch you die
The rapper's rise to fame and power feels godlike or messianic, and he watches others fail and fall beneath him.
Breakers (HERE!) MC's (HERE!)
Members of each different subgroup of hip-hop culture are present and accounted for in the room or gathering.
Writers (HERE!) Beat-boxers (HERE!)
Similarly, writers and beatboxers are present and part of the hip-hop community represented.
DJ's (HERE!) Hip-Hop (HERE!)
DJ's and hip-hop culture itself are also present and involved in the scene.
Hip-Hop (RIGHT HERE!) Hip-Hop (RIGHT HERE!)
The party or community represented is fully and exuberantly involved in hip-hop culture.
I'm like Noah, I'm takin 'em, two by two
The rapper is taking or gathering his fans, supporters, or peers in pairs, seemingly as a way of organizing them or leading them through some sort of journey or challenge.
I took, them and them and I'll take, you and you
The rapper has already taken others under his wing or welcomed them into his hip-hop family, and he is willing to do the same for others who show potential or loyalty.
Be I'm right or be I'm wrong
The rapper is willing to stand by his convictions or opinions, even if others disagree with him or criticize him.
You'll see I'm tight with this mic, you should be like, "be I'm gone"
The rapper is confident in his rapping skills, and he advises others to just leave or back off if they can't measure up to his ability.
But you still in my face Neo, I'm not your girl
Despite someone (possibly named Neo) being confrontational or persistent with the rapper, he is not intimidated or interested in submitting or backing down to them.
All that ice and thug life, that's not my world
The rapper dismisses those who embrace flashy or violent lifestyles, asserting that he doesn't subscribe to those influences or fashions.
I'm the teacher, but you still can't see
The rapper considers himself to be an authority or mentor in hip-hop culture, but he laments that some people remain ignorant or resistant to his guidance.
Cause while you respect Tupac, Tupac respected me
The rapper asserts his own authority in hip-hop culture by citing famous rapper Tupac's respect for him as a peer or elder.
Another thing; don't ever show me another ring
The rapper doesn't want to be shown flashy or expensive jewelry, likely because he considers it a tacky or empty accessory.
Remember you Rudy Ray Moore, I'm Martin Luther King
The rapper asserts his own influence or legacy in comparison to a blaxploitation filmmaker (Moore) by comparing himself to civil rights leader Martin Luther King, implying that his message and importance are on a higher level than Moore's.
Everything you bring sounds horrendous
The rapper doesn't like someone's music or style, implying that it is bad or unpleasant to the ear.
You need repentance, 'fore I take attendance
The rapper thinks the other person needs to change their ways or apologize for their poor music or behavior, suggesting that if they don't, he will publicly shame or criticize them ('take attendance').
Lyrics © Universal Music Publishing Group
Written by: LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind