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..."
For Example
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Here's another example of the KRS-One (BO!)
Here's another example of the KRS-One (BO!)
They wish to battle BDP but they cannot
They must be on the jock of WHO? (DJ Scott LaRock!)
[KRS-One]
Yeah, one-two, what? What?
Put it in your tape deck and press record
Get this - what's a real hip-hop emcee?
Is it MTV? Is it BET?
Is it five M-I-C's so the people can see?
I mean, how you think you free when you act like property?
Tell me, how can you judge an MC when he's rockin
I mean, rockin it live, not pickin his cotton
I mean, adjustin his clothes I mean, how do you know
before you come to the show, and you're not gettin cheated
That you're not gettin heated, that you ain't come to the club
thinkin, "Uh-uh - I must have been weeded!"
You got to be a educated consumer
Spend your money on MC's cause these rappers'll do ya
All they want is your cash, ass, glass, gas and a flick
When you ask for that autograph, they ass dash quick
Beware of the rapper, he talks like it don't matter
He pulls his gat while we BUST OFF the gatler
He's more of an actor, someone, into theater
Not an upright MC with styles who speaks clearer!
[Chorus]
[KRS-One]
MC's have no time for the bar
Unless we politickin a tape to some drunk A&R
We grab the mic and say who we are, KRS
And start takin it to the chest of the best
This is not a test or a demo
This is when you let go of the limo, like many can't do
They may wanna amp you and chant new, record sellin
But movin the crowd is somethin that they can't do!
[Chorus]
[KRS-One]
C'mon!
You got to be mistaken, I am not your boy
You fake what you creatin, playin wit'cha toys
G'wan with all that bullshit bout you bringin noise
Time for somethin more than PO-PO-POI-POI
All of hip-hop ain't seventeen
Some of us still go back to "Microphone Fiend"
Back when it was just MC's and DJ's
No video that come on and just replay
[Chorus]
[KRS-One]
Uhhh... uh-huh, uh-huh uh-huh
We can never stop, forever we rock, take a listen
The t'cha is back, cause rap's whack when I'm missin
Me, I would never want the future to believe
that when they trust to look back on us there was no dope MC's
There was, all these rappers grabbin more and more money
And now that I'm A&R they look more and more funny
They rap for platinum plaques without buildin
a cultural strategy worthy of our children!
In KRS-One's song "For Example," the rapper questions what it means to be a true hip-hop emcee. He challenges the notion that popular music channels like MTV and BET accurately represent the genre, arguing that they only showcase a limited scope of talent. He also cautions against blindly following popular rappers, some of whom he accuses of only being interested in money, sex, and drugs. Instead, KRS-One encourages fans to be "educated consumers" and to seek out MCs who are talented and genuine.
The song is framed by a sample of a live performance of "The Bridge is Over," a classic hip-hop diss track by KRS-One's bygone group Boogie Down Productions. Through this sample, KRS-One asserts that he is a powerful force in the hip-hop world and that other rappers would be foolish to try to battle him. The structure of the song consists of a refrain that repeats "Here's another example of the KRS-One" followed by verses that explore various aspects of the rapper's perspective on hip-hop.
Overall, "For Example" is a thought-provoking track that showcases KRS-One's lyrical prowess and his deep commitment to the art form of hip-hop.
Line by Line Meaning
Here's another example of the KRS-One (BO!)
KRS-One presents himself as an example of true hip-hop.
They wish to battle BDP but they cannot
Other rappers want to compete with KRS-One's BDP crew, but they're not good enough.
They must be on the jock of WHO? (DJ Scott LaRock!)
Those rappers must be trying to copy DJ Scott LaRock's style, the original BDP DJ.
Grab any tape that you think is hard
Pick up any album you think is good, but listen with an open mind.
Put it in your tape deck and press record
Record it, but pay attention to what makes it good.
Get this - what's a real hip-hop emcee?
KRS-One challenges listeners to question what makes a genuine rapper.
Is it MTV? Is it BET?
Is it what the mainstream media tells us is good?
Is it five M-I-C's so the people can see?
Or is it about performing live and showing off skills?
I mean, how you think you free when you act like property?
KRS-One questions rappers who exploit themselves for fame and money.
Tell me, how can you judge an MC when he's rockin
How can you criticize a rapper's performance if you haven't seen them live?
I mean, rockin it live, not pickin his cotton
Watching them perform live is more valuable than just hearing their recorded work.
I mean, adjustin his clothes I mean, how do you know
KRS-One points out how trivial things can distract from what matters - the music.
before you come to the show, and you're not gettin cheated
Make sure you're getting your money's worth when you see a concert.
That you're not gettin heated, that you ain't come to the club
Don't get so drunk or high that you don't remember the show.
thinkin, "Uh-uh - I must have been weeded!"
Don't make excuses for a poor performance - truly evaluate it.
You got to be a educated consumer
Take responsibility for consuming music mindfully.
Spend your money on MC's cause these rappers'll do ya
Invest in real rappers who care about their craft and their audience.
All they want is your cash, ass, glass, gas and a flick
Many rappers just want to exploit their fame for personal gain.
When you ask for that autograph, they ass dash quick
They're more concerned with running away than signing autographs for fans.
Beware of the rapper, he talks like it don't matter
Don't trust rappers who don't care about their message or their audience.
He pulls his gat while we BUST OFF the gatler
He's more concerned with violence and aggression than true hip-hop values.
He's more of an actor, someone, into theater
Many rappers are only interested in putting on a show and playing a role.
Not an upright MC with styles who speaks clearer!
True rappers are authentic, genuine, and speak clearly about what matters to them.
MC's have no time for the bar
Rappers are more interested in making music than partying and drinking.
Unless we politickin a tape to some drunk A&R
Unless they're trying to negotiate a record deal with a record label representative who's drinking.
We grab the mic and say who we are, KRS
When KRS-One performs, he makes sure the audience knows who he is and what he stands for.
And start takin it to the chest of the best
He's not afraid to challenge the best rappers in the industry.
This is not a test or a demo
He's serious about his music and not just experimenting.
This is when you let go of the limo, like many can't do
Some rappers are too obsessed with fame and luxury to care about their music.
They may wanna amp you and chant new, record sellin
They may try to hype you up with talk of record sales and new releases, but that's not what matters.
But movin the crowd is somethin that they can't do!
A true rapper can engage and excite an audience unlike anyone else.
You got to be mistaken, I am not your boy
KRS-One doesn't want to be on anyone's side - he's his own master.
You fake what you creatin, playin wit'cha toys
Other rappers aren't genuine or authentic in their artistic expression - it's just a game to them.
G'wan with all that bullshit bout you bringin noise
They're not really changing the industry or introducing anything new.
Time for somethin more than PO-PO-POI-POI
True hip-hop is about more than just loud, violent gun sounds.
All of hip-hop ain't seventeen
Hip-hop isn't just for teenagers - it's a genre that has grown and developed over time.
Some of us still go back to "Microphone Fiend"
Some rappers still appreciate and respect the classics of hip-hop.
Back when it was just MC's and DJ's
Hip-hop was originally just about two elements - a rapper and a DJ, not all the glitz and glamour of the modern industry.
No video that come on and just replay
There weren't music videos yet - just live shows and recorded music.
We can never stop, forever we rock, take a listen
Hip-hop will always be a powerful genre that continues to innovate and evolve.
The t'cha is back, cause rap's whack when I'm missin
KRS-One is one of the best rappers out there, and hip-hop needs him to continue innovating.
Me, I would never want the future to believe
KRS-One cares about the legacy of hip-hop and doesn't want future generations to miss out on great music.
that when they trust to look back on us there was no dope MC's
He wants hip-hop to continue producing amazing rappers and music for years to come.
There was, all these rappers grabbin more and more money
Unfortunately, many modern rappers are more focused on making money than making great music.
And now that I'm A&R they look more and more funny
Now that KRS-One is an A&R (artist and repertoire) executive, he can see through the hype and reveal the truth behind mediocre music.
They rap for platinum plaques without buildin
Many rappers aim for commercial success without trying to build something meaningful or authentic.
a cultural strategy worthy of our children!
KRS-One wants rap to have a cultural legacy that extends beyond just financial success and popularity.
Contributed by Dylan B. Suggest a correction in the comments below.