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..."
Brown Skin Woman
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That was fresh, come with that next shit
Uhh! Fat fat fat fat beats!
How refreshing is it really?
How refreshing is it really?!
Ha ha ha ha ha ha! Whoo!
Big shout out to Philly in the house
KRS-One on the micraphone
Now we gonna come down ruffneck like this now seen?
Mad Lion hold tight
[Chorus]
Brown skin woman, you a queen, not a hoe
Any man that drop the lyric what we give them the b.o.
Brown skin woman you a queen and not a hoe
Any man that drop the lyric what we give them the b.o.
We don't come with disrespect, we come with intellect
If you come with disrespect you get a rope around your neck
Some people don't expect me, to be so violent
But me NAH violent, just myself I protect
Too many time I see, young gwal pickadee
Pay five ten twenty thirty dollar to see
some rapper some singer some, celebrity
Talk bout they wan fi sex up and fill up you body
But them NAH talk about peelin off some money
for the pumpin onna bed, when you haf the baby
Whattaya think can happen next? After you're done havin sex?
Too much of ignorance, not enough intellence
Mahn me NOT against sex, but too many DJ
talk sex but them not talk about the next day
Cause the next day them gone, and you sit alone
Got 'em soup up your mic, pon de micraphone
[Chorus]
Brown skin gwal them can't diss yo
Cause you run the show-ow-ow!
Them call you all type of bimbo
But you know you're not a hoe-oe-oe!
Bwoy pickade, check out your history
Brown man is a God in any ci-ty
White, man knew dat, and dat was a shock
So dem whip up your bod', and dem whippin not stop
But dem NAH can't stop us wit de whip and de chain
So dem take away your history, erase your name
STILL, with no name, with no fight, with no fuss
We just, take on the name, that MASSA give us
That name is NI-GGA, the correct is NE-GRO
It's spa-nish for BLACK, white mahn call us DAT
There is also NE-GROID, also NE-GRO
Now, all nigga pon the corner playin cee-lo
Man you're not a ne-gro, cause you're skin is not black
Take a look at yourself, you're brown and that's a fact
You not jump from no tree, you not live in no cave
That's some GARBAGE dem print, dem want you to behave!
You a African man, some say Asian
You must respect your love, all brown skin 'oman!
If you diss your 'oman, you not come wit no plan
So shut up your mowf, til you must understand!
[Chorus]
I know you want me to call you a nigga, no!
I know you want me to call you a hoe, no!
I know you want me to call you a bitch, no!
This is how it go!
Yes Kris, you're large!
Another fat production by the Kiiiiddd Capri
Big shouts to the engineer Naughty
Big shouts to Luca, and we outta here!
Peeeeeeeeeeace!
In KRS-One's song "Brown Skin Woman," the rapper celebrates brown skin women and also issues a warning to men who objectify and disrespect them. He questions the way society views brown-skinned women and calls out the hypocrisy of some men who claim to desire them but don't treat them with respect. He urges men to approach women with intelligence and respect, rather than just viewing them as sexual objects. He also touches on the issue of the negative way black people have been represented throughout history, and challenges listeners to embrace their true identity and history.
One of the most interesting facts about "Brown Skin Woman" is that it was released in 1993, at a time when rappers were often criticized for misogynistic lyrics. KRS-One was one of the few rappers who actively spoke out against those kinds of lyrics and promoted respect for women. Another interesting fact is that the song features a sample from the classic R&B song "Brown Skin Lady" by Black Ivory. KRS-One himself has cited Black Ivory as a major influence on his music.
The song also includes references to the history of the African diaspora, including the way black people were treated during slavery and the legacy of racism that has persisted in America. KRS-One has frequently used his music to address social and political issues, and "Brown Skin Woman" is no exception. The song has been widely praised for its positive message and celebration of black women.
As for the chords of the song, they are not provided in the lyrics. However, "Brown Skin Woman" features a simple, repetitive beat and a catchy chorus that is easy to sing along with. The song's focus is more on the lyrics and message than on the musical accompaniment.
Line by Line Meaning
Brown skin woman, you a queen, not a hoe
This song is a celebration of the beauty and power of black women; they're queens, not objects to be used by men
Any man that drop the lyric what we give them the b.o.
Any man that disrespects women in their lyrics is staying out of KRS-One's lane
We don't come with disrespect, we come with intellect
This song has a positive message and promotes wisdom over misogyny
If you come with disrespect you get a rope around your neck
KRS-One won't tolerate disrespect to women; anyone who comes with that energy will be called out and dealt with
Some people don't expect me, to be so violent
KRS-One is often seen as a peaceful, intellectual artist, but he will switch to a more aggressive stance when defending women's honor
But me NAH violent, just myself I protect
KRS-One isn't a violent person, but he will use aggression to defend the women he respects
Too many time I see, young gwal pickadee
KRS-One has seen too many young girls taken advantage of by men
Pay five ten twenty thirty dollar to see some rapper some singer some, celebrity
Men in power use their fame to manipulate young women into sexual situations by offering them money or access to their celebrity lifestyle
Talk bout they wan fi sex up and fill up you body But them NAH talk about peelin off some money for the pumpin onna bed, when you haf the baby
Men want to have sex with women, but don't want to accept any responsibility for the possible outcomes, such as pregnancy or the financial burden of raising a child
Too much of ignorance, not enough intellence
KRS-One believes that society isn't educated enough about gender equality and that needs to change
Brown skin gwal them can't diss yo
Black women should be celebrated and respected, not hurt or disrespect in any way
Cause you run the show-ow-ow!
Black women are in charge and run things; they have the power, and everyone should respect that
Bwoy pickade, check out your history
Misogynistic men should educate themselves on the rich history of black women and understand their value and worth
Brown man is a God in any ci-ty
Black men are revered in their communities, but black women are just as important and should be valued equally
White, man knew dat, and dat was a shock
White men were surprised by the power of black people, but they still tried to control them by devaluing their worth
So dem whip up your bod', and dem whippin not stop
White people used violence and brutality to control black bodies and make them suffer
But dem NAH can't stop us wit de whip and de chain
Although white people used violence to control black people, they couldn't break their spirit or their determination to overcome oppression
That name is NI-GGA, the correct is NE-GRO
KRS-One is unpacking the history of racial slurs and how they've been used to dehumanize black people, but their true identity is as 'negroes,' meaning black people in Spanish
You not jump from no tree, you not live in no cave
Black people have been painted as savages and unintelligent beings throughout history, but they're just as human as everyone else
You a African man, some say Asian
Black people are descendants of Africa and have a rich history and culture that should be celebrated
You must respect your love, all brown skin 'oman!
Black men should love and respect black women and acknowledge their power and worth
If you diss your 'oman, you not come wit no plan
Men who disrespect women don't have any real strategy for success and will likely fail in life
I know you want me to call you a nigga, no!
KRS-One refuses to use harmful language or slurs that devalue black people in any way
I know you want me to call you a hoe, no!
KRS-One refuses to identify black women as anything other than strong, powerful queens who deserve respect
I know you want me to call you a bitch, no!
KRS-One won't engage in derogatory language that reduces black women to inferior or subhuman status
Lyrics © Universal Music Publishing Group, REACH MUSIC PUBLISHING
Written by: D. LOVE, LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind
Lucaci Cristian
Aiyyo Kris, yo yo yo!
That was fresh, come with that next shit
Uhh! Fat fat fat fat beats!
How refreshing is it really?
How refreshing is it really?!
Ha ha ha ha ha ha! Whoo!
Big shout out to Philly in the house
G. Simone, you know you're not alone
KRS-One on the micraphone
Now we gonna come down ruffneck like this now seen?
Mad Lion hold tight
Brown skin woman, you a queen, not a hoe
Any man that drop the lyric what we give them the b.o.
Brown skin woman you a queen and not a hoe
Any man that drop the lyric what we give them the b.o.
We don't come with disrespect, we come with intellect
If you come with disrespect you get a rope around your neck
Some people don't expect me, to be so violent
But me NAH violent, just myself I protect
Too many time I see, young gwal pickadee
Pay five ten twenty thirty dollar to see
some rapper some singer some, celebrity
Talk bout they wan fi sex up and fill up you body
But them NAH talk about peelin off some money
for the pumpin onna bed, when you haf the baby
Whattaya think can happen next? After you're done havin sex?
Too much of ignorance, not enough intellence
Mahn me NOT against sex, but too many DJ
talk sex but them not talk about the next day
Cause the next day them gone, and you sit alone
Got 'em soup up your mic, pon de micraphone
Brown skin woman, you a queen, not a hoe
Any man that drop the lyric what we give them the b.o.
Brown skin woman you a queen and not a hoe
Any man that drop the lyric what we give them the b.o.
Brown skin gwal them can't diss yo
Cause you run the show-ow-ow!
Them call you all type of bimbo
But you know you're not a hoe-oe-oe!
Bwoy pickade, check out your history
Brown man is a God in any ci-ty
White, man knew dat, and dat was a shock
So dem whip up your bod', and dem whippin not stop
But dem NAH can't stop us wit de whip and de chain
So dem take away your history, erase your name
STILL, with no name, with no fight, with no fuss
We just, take on the name, that MASSA give us
That name is NI-GGA, the correct is NE-GRO
It's spa-nish for BLACK, white mahn call us DAT
There is also NE-GROID, also NE-GRO
Now, all nigga pon the corner playin cee-lo
Man you're not a ne-gro, cause you're skin is not black
Take a look at yourself, you're brown and that's a fact
You not jump from no tree, you not live in no cave
That's some GARBAGE dem print, dem want you to behave!
You a African man, some say Asian
You must respect your love, all brown skin 'oman!
If you diss your 'oman, you not come wit no plan
So shut up your mowf, til you must understand!
Brown skin woman, you a queen, not a hoe
Any man that drop the lyric what we give them the b.o.
Brown skin woman you a queen and not a hoe
Any man that drop the lyric what we give them the b.o.
I know you want me to call you a nigga, no!
I know you want me to call you a hoe, no!
I know you want me to call you a bitch, no!
This is how it go!
Yes Kris, you're large!
Another fat production by the Kiiiiddd Capri
Big shouts to the engineer Naughty
Big shouts to Luca, and we outta here!
Peeeeeeeeeeace!
Stephen Higgins
This is a song I grew up listening to... I still listen to it....
mrkingssizesnicker
The Greatest MC Of All Time!
nyjay21x
mrkingssizesnicker wuuuuurd👍👍😎
Roy Jones jr
✊✊✊✊
Trillogical
The bass in this song makes my side mirrors and rear windshield vibrate, it’s crazy good 😂
Kwaku 11
Dope Song and Message! And the Drums is definitely 'Boom Bapping!
Mike Cohan
KRS raised me! Dude was on some other shit.
4UCESO
I'm a new Uber driver with a used Kia Soul
this beat bumps so hard
it makes me fill like Im rolling down the street in a new Kia commercial
I tried 😂
itsddashrock
Love this cut and the album! REAL HIP HOP.
CrunchyManSopa
An all-time fav, drums stupid good.