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..."
Better & Better Feat. Pee-Doe
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better
History in the making
Get with me I'm not faking
Big up all my Jamaicans
Haitians and all my nations
Latinos and my Asians
Yeah I know you've been waitin
Feeling you've been forsaken
But I'm building this nation
Building new innovation
Look at what we've been facin
Payola on these stations
Plus they run like plantations
Complete with black beats sportin
Soul by caucausians
If you hear me on your station
Best believe I'm not payin'!
KRS is the realest, KRS-One is fearless
I grew up in them days when
Crack was new to drug dealers
See them cats they be liars
We the New York survivors
Eighty-one to ninety-one
They was our record buyers
Now they front cause they got work
Tryin to redo all my work
'til we live and in concert
And I'm makin they eye hurt
Shinin so bright and so lively
Everybody know
Hip-hop was better in the nineties
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better
It was better in the nineties
The solo was grimey
The Wu Tang Clan came in with the killer army
Grand Puba came in with Girbauds hangin low
Hilfiger Tommy niggas rockin Polo
40 ounce guzzlin, nickel bag coppin
Troopin through the block with
The boom box knockin
All we do is "Spark Mad Ism" non-stop and
When Hot 97 played the real hip-hop and
I remember 98, point 7 KISS FM
With Kool DJ Red Alert, mixin up the blends
Them mixtape deejays had the streets on lock
Like Demo and Ron G, my nigga Doo Wop
Before the radio station corrupted the nation
To rule the street
A&R's discoverin the sensations
KRS came with the peace declaration
Took it with the leaders
To the United Nations
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better and better
However, I'm really fascinating to the letter
My english grammar gets better
In KRS-One's song "Better & Better" featuring Pee-Doe, the artist speaks about the evolution of his English grammar skills as he continues to fascinate his listeners with his lyrical abilities. He emphasizes that hip-hop was better in the nineties and compares the current state of the industry to the past. He mentions the corrupt nature of record labels and radio stations, where payola was rampant, and how A&R's were more interested in sensations rather than real talent. He also speaks about his peace declaration and his efforts to bring leaders together.
The first verse of the song highlights KRS-One's prowess in English grammar, which he credits to his continuous effort to improve his skills. He uses repetition to emphasize his fascination with the language, and how his grammar keeps getting better. The second verse speaks about his admiration for different ethnicities and how everyone should come together regardless of race.
The third verse is where KRS-One makes his case that hip-hop was better in the 90s, with groups like Wu Tang Clan and Grand Puba representing the golden era of rap. He laments at the state of the industry today, with record labels more interested in sensations rather than real talent. He also mentions the role of radio stations in promoting bad music and how his peace declaration was an effort to bring people together.
Overall, the song "Better & Better" is a commentary on KRS-One's view of the state of the industry and how it has evolved over time. It shows how he has grown as an artist and how he continues to use music as a tool to bring people together.
Line by Line Meaning
However, I'm really fascinating to the letter
Despite any distractions, I am deeply invested in perfecting my English language proficiency
My english grammar gets better and better
I am constantly improving my ability to use English grammar correctly
History in the making
The moment we are living in is significant and will become a noteworthy part of the future
Get with me I'm not faking
If you work with me, you will find that I am genuine and authentic
Big up all my Jamaicans
I want to give a shoutout to all the Jamaican people
Haitians and all my nations
I recognize and appreciate all the various nationalities, especially the Haitian people
Latinos and my Asians
I also acknowledge and respect the Latino and Asian communities
Yeah I know you've been waitin
I understand that you have been anticipating something from me
Feeling you've been forsaken
You may have felt neglected or abandoned in some way
But I'm building this nation
I am actively working to help build a better community or society
Building new innovation
I am creating and promoting new and innovative ideas
Look at what we've been facin
Consider the obstacles we have encountered and overcome
Payola on these stations
There is corruption in the music industry, where people must pay to have their music played
Plus they run like plantations
The music industry is often structured like a plantation, with those in power exploiting those who are less powerful
Complete with black beats sportin
Even though black musicians created the foundation of hip-hop, many white musicians profit from it
Soul by caucausians
White musicians sometimes profit from black musical stylings, even though their music lacks the soul of the original creators
If you hear me on your station
In the rare case that you hear me playing on the radio
Best believe I'm not payin'!
Know that I did not pay anyone to get my music played on the radio
KRS is the realest, KRS-One is fearless
I am one of the most authentic and courageous musicians you will find
I grew up in them days when
My childhood was spent during a time when
Crack was new to drug dealers
Drug dealers were just starting to sell crack cocaine
See them cats they be liars
Many other musicians and people in the music industry are dishonest
We the New York survivors
I, and other New Yorkers like me, have survived a lot of difficult circumstances
Eighty-one to ninety-one
From 1981 to 1991
They was our record buyers
During those years, the people who bought our records were in the same difficult circumstances we were
Now they front cause they got work
Now that some of those people have achieved success, they pretend that they did not come from difficult backgrounds
Tryin to redo all my work
Some people are copying my style or trying to recreate my music
'til we live and in concert
Until you see me performing live on stage
And I'm makin they eye hurt
I am so successful and impressive that when people see me perform, their eyes hurt from being dazzled
Shinin so bright and so lively
I am radiating with energy and brightness
Everybody know
Everyone is aware
Hip-hop was better in the nineties
Hip-hop was at its peak and most influential during the 1990s
The solo was grimey
The lyrics and style of music were authentic and gritty
The Wu Tang Clan came in with the killer army
The Wu Tang Clan made a huge impact with their hard-hitting style of music
Grand Puba came in with Girbauds hangin low
Grand Puba made a splash with his fashionable clothing and confident attitude
Hilfiger Tommy niggas rockin Polo
Many people were wearing prestigious clothing brands like Tommy Hilfiger and Ralph Lauren Polo
40 ounce guzzlin, nickel bag coppin
Drinking 40 ounce bottles of malt liquor and buying small bags of drugs
Troopin through the block with
Walking around or hanging out in a particular neighborhood with
The boom box knockin
A large, portable radio playing music loudly
All we do is "Spark Mad Ism" non-stop and
We are constantly smoking marijuana and enjoying the effects
When Hot 97 played the real hip-hop and
At one point, the radio station Hot 97 played true and authentic hip-hop music
I remember 98, point 7 KISS FM
I have fond memories of the radio station 98.7 KISS FM
With Kool DJ Red Alert, mixin up the blends
DJ Red Alert was talented at blending different songs together in a smooth way
Them mixtape deejays had the streets on lock
Mixtape DJs had a stronghold on the neighborhoods and local music scene
Like Demo and Ron G, my nigga Doo Wop
Mixtape DJs like Demo, Ron G, and Doo Wop were especially popular and influential
Before the radio station corrupted the nation
Before radio stations began promoting and playing music that was not authentic or real
To rule the street
To have complete control over the local music scene
A&R's discoverin the sensations
A&R people are discovering new talented musicians
KRS came with the peace declaration
I made a powerful statement about peace
Took it with the leaders
I shared my message with influential and important people
To the United Nations
Even the United Nations heard and was impacted by my message
Lyrics © O/B/O APRA AMCOS
Written by: Lawrence Krsone Parker
Lyrics Licensed & Provided by LyricFind