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..."
Bring It Back
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
("Bring it back that old New York rap
Bring it bring it back that old New York rap") repeats in background
The only reality
Is now...
Yo!
Verse One:
I rock slow and easy like soul
The New York flow is strictly for the pro
Hip hop! Ladies and gents
So you can know every word yo of the sentence
Hey la like De La I got Common Sense
Save the compliments for after I commence
to evidence of MC's, rockin under false pretense
Yes they get burned like incense
Myrrh and frankencense, you know the consequence
When you rock with KRS and don't make sense
Kris represents all MC's, that rock with ease
I'm not conceited, I got confidence in my abilities
Agility's my credibility
Oratorical artillery in all facilities
It Takes a Village like Hillary
when killin me, KRS has wide range capabilities
On the microphone, in the combat zone
MC's get eaten like the ozone layer
Hey ya, I'm not a playa I'm a teacher
But if I wanted your girl
You'd be Living Single like Latifah
Action Uptown like Monifah
I hit like a beeper, and hot like the bunny on Easter
Lyrically let me freak ya
With moves like Scoob and Scrap
Rock Stready, Stretch, Al and Kiko
I warm up any room like a heater
Bringin a New Balance to the speaker like a sneaker
Still a teacher, prove it, like medicine squared
This Garden of Eden, keeps the party movin
("Bring it back, that old New York rap
Bring it bring it back, that old New York rap") - repeat 2X
Verse Two:
I'm interested in skill and how we build as a culture
I don't eat off old material like a vulture
Repeatin myself for wealth is bad for my health
Everyday I express myself with a dope lyric
From my inner spirit, then I share it with others
As they hear me, enhancin
East and West, overseas, brothers and sisters
Sons and daughters transcended all borders
I deal with mind expansion
Anytime you aimlessly dancin, and romancin
It's your life that you be chancin
Not that I wanna sound gloomy
But I don't rhyme about Judy Judy, cutie and shake your booty
When you gonna grow up and be GOD?
Instead of making a rap a full time job
Yeah, it's a job and not an art
They only rhyme to get money;
cause true self-expression takes heart, and guts
Rhymes, and cuts
Tight minds and not tight butts
Reach your goal, like a puck
I wish you good skill and not good luck
Cause only skills put you up out the gutter so I utter
("Bring it back, that old New York rap
Bring it bring it back, that old New York rap") - repeat 2X
Verse Three:
That old New York flow means wrote for fun
And if the money come, THEN THE MONEY COME
But today and everyday, KRS speaks the truth
We dealing with unemployment in the city black youth
usin rap, to put clothes on they back
No culture, or disciplined, way to act
But soon yo, we'll take care of alla that
We're huntin fi de power help supress people tracks
That keep the culture intact, and soon you will see
In the black community, black unity
Not black nudity, after black puberty
For every crew to see, to breakin down the black community
The only one to blame is you and me
For not takin responsiblity for our artillery
Verbally, you heard of me, Knowledge Reigns Supreme
Over Nubians Everywhere, I kick it cause I care
The end isn't near, it's way over there
BLAOW! The only reality is now
But when I say bring back the old flava
That means bring back the ORIGINAL MC behavior
("Bring it back, that old New York rap
Bring it bring back, that old New York rap") - repeat 2X
Verse Four:
Now I got to show you how the BX rocks
MC's, are jumpin out shoes and socks
Body body rock body body rock
I'm the king of rock'n'roll, ahh yeah
Throw your guns in the air! Glocks down
Who the hell is, pagin me at 5 o'clock in the mornin
Where you gonna be, because...
Fresh is the word, many money missin many
Jenifa, oh Jenny
We make up all these rhymes inside our head!
Yo, let's connect politic ditto
In KRS-One's song Bring It Back, the rapper emphasizes the need for the return of original New York rap music. He begins the song by making a distinction between reality and the present moment before going on to explain that New York's flow is solely for professionals. He uses the phrase "hip hop, ladies and gents" to introduce and highlight the importance of his craft. KRS-One goes on to set himself apart from other MC's by emphasizing his self-confidence and agility as well as his range of capabilities. In the second verse, he expresses his interest in the complexity of language and the growth of his culture. He explains that he pursues reality in his music daily and shares it with others. The rapper is concerned with mind expansion as opposed to frivolous behavior or empty rhymes. The third verse warns about the dangers of irresponsible behavior -not taking responsibility for one's actions- in the black community while pointing out that through unity, the culture will survive.
In the chorus, KRS-One repeats the phrase "bring it back, that old New York rap" twice, each time calling forth the original, authentic sound of the genre. In verse four, KRS-One switches to a freestyle rapping mode, moving through shoutouts to classic rappers, "Fresh is the word, many money missing many/ Jenifa, oh Jenny", and his role as the "king of rock'n'roll".
Line by Line Meaning
Ha hahaha! ("Bring it back that old New York rap
Bring it bring it back that old New York rap") repeats in background
The song aims to bring back the original New York rap flava that was once the soul of the city's youth culture.
The only reality
Is now...
Yo!
The present moment is the only truth, as per the Zen principle of living in the moment.
I rock slow and easy like soul
The New York flow is strictly for the pro
Hip hop! Ladies and gents
So you can know every word yo of the sentence
Hey la like De La I got Common Sense
Save the compliments for after I commence
to evidence of MC's, rockin under false pretense
I rap with a groove and ease, but the traditional New York style is reserved only for the experts. Every word of my rap is clear as a day. De La Soul's 'Me, Myself and I' is my inspiration. I don't need flattery and prefer to show evidence of false and pretentious MCs.
Yes they get burned like incense
Myrrh and frankencense, you know the consequence
When you rock with KRS and don't make sense
Kris represents all MC's, that rock with ease
I roast fake rappers like incense and burn them down with my frankness. If you rap sensibly and effortlessly, you represent my brand of skilled MCs.
I'm not conceited, I got confidence in my abilities
Agility's my credibility
Oratorical artillery in all facilities
It Takes a Village like Hillary
when killin me, KRS has wide range capabilities
I am not vain, but I am confident in my talents. My agility and quickness as a rapper is my credibility. Any platform or setting is where I can display my oratory skills. Like the famous Hillary Clinton book, I believe it takes a village to achieve great things. Even if someone tries to kill me, I have a diverse array of skills to overcome the odds just like Hillary.
On the microphone, in the combat zone
MC's get eaten like the ozone layer
Hey ya, I'm not a playa I'm a teacher
But if I wanted your girl
You'd be Living Single like Latifah
Action Uptown like Monifah
I hit like a beeper, and hot like the bunny on Easter
Lyrically let me freak ya
With moves like Scoob and Scrap
Rock Stready, Stretch, Al and Kiko
I warm up any room like a heater
Bringin a New Balance to the speaker like a sneaker
Still a teacher, prove it, like medicine squared
This Garden of Eden, keeps the party movin
I may be a teacher, but on the microphone, every MC who tries to compete with me falls apart like the ozone layer. I'm not playing, I'm teaching the hard way. If I choose to steal your girl, you'd end up alone like the singer in 'Living Single'. I'm a powerful and sultry lover like Monifah. My rapping is like a beep or alarm and is hot enough to melt like the Easter bunny's chocolate. I dance like Scoob and Scrap and rock hard like the DJs Stready, Stretch, Al, and Kiko. I heat up any occasion, like a heater, and my brand of rapping is like a comfortable pair of sneakers with a new look or style. Although I'm always teaching, I prove it like medicine with scientific accuracy. This euphoric and utopian place that I am creating with my music keeps the dance floor lively and kicking.
I'm interested in skill and how we build as a culture
I don't eat off old material like a vulture
Repeatin myself for wealth is bad for my health
Everyday I express myself with a dope lyric
From my inner spirit, then I share it with others
As they hear me, enhancin
East and West, overseas, brothers and sisters
Sons and daughters transcended all borders
I deal with mind expansion
I am interested in how we build and strengthen our culture through the artists' skills. I don't exploit old content, unlike vultures who feed on carcasses. Repetition is stale and unhealthy for me, so I try to create original and fresh lyrics every day. My ideas come from my inner creative spirit, which I then propagate and share with my listeners. People are getting enhanced as they listen to my music, and it transcends cultural and geographical barriers. I aspire to broaden your minds with my ideas.
Anytime you aimlessly dancin, and romancin
It's your life that you be chancin
Not that I wanna sound gloomy
But I don't rhyme about Judy Judy, cutie and shake your booty
When you gonna grow up and be GOD?
Instead of making a rap a full time job
Yeah, it's a job and not an art
They only rhyme to get money;
cause true self-expression takes heart, and guts
Rhymes, and cuts
Tight minds and not tight butts
Reach your goal, like a puck
I wish you good skill and not good luck
Cause only skills put you up out the gutter so I utter
Whenever you dance or romantically pursue anyone without a direction or purpose, you are exposing yourself to chance. Although it may appear gloomy, I don't talk about petty things like infatuation, objectification or meaningless shaking. Instead, I urge people to aspire to become something bigger, like a deity or a superior version of themselves than being trapped in a job that they hate. Rapping is an art, and many people mistake it for a job that earns money. True self-expression requires courage, talent, and skill. Tight minds and lyrical skills are important, rather than tight attire or fleshy butts. Always work hard to achieve your goals like a hockey puck, and rely on your skills more than good luck. Skills are the only way to move up and out of the lowest places, so I exhort you to put in the effort.
That old New York flow means wrote for fun
And if the money come, THEN THE MONEY COME
But today and everyday, KRS speaks the truth
We dealing with unemployment in the city black youth
usin rap, to put clothes on they back
No culture, or disciplined, way to act
But soon yo, we'll take care of alla that
We're huntin fi de power help supress people tracks
That keep the culture intact, and soon you will see
In the black community, black unity
Not black nudity, after black puberty
For every crew to see, to breakin down the black community
The only one to blame is you and me
For not takin responsiblity for our artillery
Verbally, you heard of me, Knowledge Reigns Supreme
Over Nubians Everywhere, I kick it cause I care
The end isn't near, it's way over there
BLAOW! The only reality is now
But when I say bring back the old flava
That means bring back the ORIGINAL MC behavior
The classic New York rapping style is meant to be fun and joyous, and if it brings in money, then good for the rappers. However, currently, KRS-One speaks the truth and sheds light on the unemployment problem among Black youth in the city. Many of them have no culture to boast of, and no discipline to act accordingly. But soon, everyone will see a new dawn where the black culture is one of unity and prosperity, rather than one of nudity and drugs. Every crew should have this vision and work together to foster the black community's growth. We are responsible for claiming our artillery and fighting back against suppression with our powerful art. My brand of rapping is supreme because it is filled with knowledge and meant for everyone. The future isn't bleak, but it's waiting for us just beyond. This is not a catchphrase for the present, but the only reality that matters. By bringing back the old-school flavor, I mean to bring about the original MC behavior where rapping is an art form that uplifts and empowers people everywhere and breaks the monopoly of the music industry.
Now I got to show you how the BX rocks
MC's, are jumpin out shoes and socks
Body body rock body body rock
I'm the king of rock'n'roll, ahh yeah
Throw your guns in the air! Glocks down
Who the hell is, pagin me at 5 o'clock in the mornin
Where you gonna be, because...
Fresh is the word, many money missin many
Jenifa, oh Jenny
We make up all these rhymes inside our head!
Yo, let's connect politic ditto
Witness how the Bronx rocks with style and swagger, enough to make other rappers jump out of their shoes, and socks with excitement or shock. Body rock is the quintessential dance move to groove to, and as the King of Rock and Roll, I urge everyone to let loose and dodge violence by chucking away their firearms. Who the hell is paging me so early in the morning, and where do you plan to be? The buzzword is freshness and not just money. The names 'Jenifa' and 'Jenny' are placeholders for generic names rather than specific people. All the rhymes are unique to us individually and originate in our thoughts/minds/head. Let's connect together on a political level and voice our opinions and concerns to make a change.
Lyrics © Universal Music Publishing Group
Written by: AHMET ERTEGUN, B. NELSON, LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind