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..."
H.I.P.H.O.P.
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
KRS, hip-hop is one
Conscious, gangsters, hustlers
Man
[Chorus]
Hiiiip-Hop; I'm livin for that
Hiiiip-Hop; I'm livin for that
Hiiiip-Hop
Yo - we went from nuttin to somethin, bein real and not frontin
No one was givin us nuttin so we resorted to gunnin
Growin up and we comin, up the ladder not bummin
Dodgin warrants and summons, from the cops we were runnin
Goin to school not for nuttin they teachin lies and assumptions
And they tell us keep comin, comin to school now for what? When
Comin back to a system that's whack and really not runnin
Oh I'm sorry it's runnin, it's not PROPERLY runnin
It's a conspiracy hear me man it's got to be somethin
I can get guns faster than I can get an english muffin
And the black church ain't sayin nuttin
We on our own cousin, I'm stickin to this
[Chorus]
I'm livin for this hip-hop, I'm spittin for this hip-hop
I'm givin to this hip-hop, my life is hip-hop
Culture, and y'all know that
Hip-Hop in the media, y'all know it's whack
But just like them dopefiends who keep comin back
Like the mayor of D.C., buyin Joey's crack
No disrespect to either one of them but look at that
Study the metaphors in this rap
We bigger than crack, but we keep buyin it
We bigger than rap, but we keep denyin it
Justice, equality, keep cryin it
But the only way to get it is to start applyin it
Fat Joe that's my bro shows 'nuff respect
Talib, that's my bro, shows 'nuff respect
50 Cent that's my bro he shows 'nuff respect
Common! That's my bro he shows 'nuff respect
Snoop Dogg is my bro showed 'nuff respect
Dead Prez that's my peeps yo 'nuff respect
Cassidy's an MC who shows 'nuff respect
Hip-Hop is one, don't forget
I'm stickin with this
[Chorus]
I'm livin for that hip-hop culture, shape it like a sculpture
Touch it why don'tcha, touch it why don'tcha
Hip-Hop is yours and mine and that's fine
But hip-hop's culture ain't about just crime
You caught up in the image and, don't know they rhymes
You caught up in they bodies and don't know they minds
So I'm, here to bring the truth in the place
Like don't think Common won't punch you in your face~!
And don't think Talib won't hold the heat
To stop the violence you gotta know your street
You gotta know who Tanga Reed is
Fat Joe's a leader, Busta Rhymes a preacher
KRS-One's a teacher
But through Cassidy my lessons are quicker to reach ya
We one community
I'm talkin about unity, in other words you and me
I'm with this
[Chorus x2]
The lyrics to KRS-One's song H.I.P.H.O.P. urge for unity in the community of the hip-hop genre. The lyrics don't play favorites between the different sub-genres of hip-hop, whether conscious, gangster, hustler, etc. Rather, KRS-One believes that all kinds of hip-hop come together to make up one, unified entity. He reflects on his own upbringing and the challenges he faced, including dodging warrants and going to school where he felt like he was being taught lies and assumptions. KRS-One believes that the system is not properly running, and that it's up to the hip-hop community itself to come together, and make advancements in areas such as equality and justice.
The chorus of the song is focused on KRS-One’s love for hip-hop as an art form. He argues that hip-hop is bigger than rap and crack, and even though the media portrays hip-hop culture in a negative light, he believes it is much more than that. KRS-One mentions his respect for other MCs and artists such as Talib, Common, Snoop Dogg, and Fat Joe because they show respect for hip-hop culture as well.
Line by Line Meaning
We need unity in the community
KRS-One believes that the Hip-Hop community needs to unite together as one instead of fighting against each other.
KRS, hip-hop is one
KRS-One believes that he and Hip-Hop are one, and that Hip-Hop should be used as a tool or medium to achieve unity in the community.
Conscious, gangsters, hustlers, Man
KRS-One describes the Hip-Hop community as a group of people with varied backgrounds and personalities, including those who are conscious, gangsters, or hustlers, all of whom are human beings.
Hiiiip-Hop; I'm livin for that
KRS-One is living his life dedicated to Hip-Hop culture, as it is his passion and purpose.
Yo - we went from nuttin to somethin, bein real and not frontin
KRS-One recalls how Hip-Hop artists started from nothing and made it big without being fake or pretending to be someone they are not.
No one was givin us nuttin so we resorted to gunnin
KRS-One believes that Hip-Hop artists had to use the streets to pave their way to success as they were not given any assistance or opportunities by the government or society.
Growin up and we comin, up the ladder not bummin
KRS-One acknowledges that the Hip-Hop community is growing up and emerging as a powerful force, rising up the social ladder, not simply surviving without making an impact.
Dodgin warrants and summons, from the cops we were runnin
KRS-One highlights the fact that Hip-Hop artists face legal problems and run-ins with the police, which they have to avoid to survive.
Goin to school not for nuttin they teachin lies and assumptions
KRS-One believes that schools in the Hip-Hop community teach lies and assumptions instead of offering valuable knowledge to the students.
And they tell us keep comin, comin to school now for what? When
KRS-One questions why schools encourage students to keep coming back when they are not providing any practical knowledge or skills that are applicable in real life.
Comin back to a system that's whack and really not runnin
KRS-One points out that the system (government/society) is flawed and not functioning properly, which is demotivating for the Hip-Hop community to work together with them.
Oh I'm sorry it's runnin, it's not PROPERLY runnin
KRS-One concedes that the system may be functional, but it is not being run properly to benefit everyone in society.
It's a conspiracy hear me man it's got to be somethin
KRS-One believes that something is conspiring against the Hip-Hop community, and there must be a reason for their struggles.
I can get guns faster than I can get an english muffin
KRS-One highlights how easy it is to obtain guns in the Hip-Hop community compared to other basic necessities like food.
And the black church ain't sayin nuttin
KRS-One suggests that the black church is not doing enough to address the issues faced by the Hip-Hop community.
We on our own cousin, I'm stickin to this
KRS-One acknowledges that the Hip-Hop community is on their own, and he is dedicated to sticking with Hip-Hop culture to empower and progress the community.
I'm livin for this hip-hop, I'm spittin for this hip-hop
KRS-One is living his life and rapping for the sake of Hip-Hop culture.
I'm givin to this hip-hop, my life is hip-hop
KRS-One is dedicated to Hip-Hop culture to the extent that his life is Hip-Hop.
Culture, and y'all know that
KRS-One emphasizes that Hip-Hop is more than just music, but rather a culture that should be respected and acknowledged.
Hip-Hop in the media, y'all know it's whack
KRS-One criticizes the media for exploiting and misrepresenting Hip-Hop culture.
But just like them dopefiends who keep comin back
KRS-One compares those who consume Hip-Hop media despite its flaws to dopefiends who depend on drugs despite their harmful effects.
Like the mayor of D.C., buyin Joey's crack
KRS-One denounces the actions of famous people, like the D.C. mayor, who buy drugs from drug dealers and encourages the cycle of drugs and violence.
No disrespect to either one of them but look at that
KRS-One expresses that his criticisms are not disrespectful towards the individuals, but only towards their actions or choices.
Study the metaphors in this rap
KRS-One advocates for the audience to pay attention to the metaphors and deeper meanings in Hip-Hop lyrics.
We bigger than crack, but we keep buyin it
KRS-One believes that the Hip-Hop community is more significant and capable than drugs like crack, yet it still consumes and perpetuates it.
We bigger than rap, but we keep denyin it
KRS-One believes that Hip-Hop culture is more valuable than just its music and that it has the power to achieve great things, but the community fails to recognize it.
Justice, equality, keep cryin it
KRS-One states that the Hip-Hop community often speaks of the need for justice and equality, but it needs to become more proactive in achieving it.
But the only way to get it is to start applyin it
KRS-One believes that the Hip-Hop community needs to put their words into action to achieve justice and equality.
Fat Joe that's my bro shows 'nuff respect
KRS-One acknowledges that Fat Joe is his friend and that they show mutual respect for each other.
Talib, that's my bro, shows 'nuff respect
KRS-One acknowledges that Talib is his friend and that they show mutual respect for each other.
50 Cent that's my bro he shows 'nuff respect
KRS-One acknowledges that 50 Cent is his friend and that they show mutual respect for each other.
Common! That's my bro he shows 'nuff respect
KRS-One acknowledges that Common is his friend and that they show mutual respect for each other.
Snoop Dogg is my bro showed 'nuff respect
KRS-One acknowledges that Snoop Dogg is his friend and that they show mutual respect for each other.
Dead Prez that's my peeps yo 'nuff respect
KRS-One acknowledges that Dead Prez is his friend and that they show mutual respect for each other.
Cassidy's an MC who shows 'nuff respect
KRS-One acknowledges that Cassidy is a skilled rapper and that they show mutual respect for each other.
Hip-Hop is one, don't forget
KRS-One reminds everyone that Hip-Hop culture is one and that they should work together to achieve unity and progress.
I'm livin for that hip-hop culture, shape it like a sculpture
KRS-One's life purpose is to shape and influence the Hip-Hop culture like an artist would sculpt a statue.
Touch it why don'tcha, touch it why don'tcha
KRS-One invites the audience to experience and appreciate Hip-Hop culture firsthand, rather than just being a spectator.
Hip-Hop is yours and mine and that's fine
KRS-One believes that Hip-Hop culture belongs to everyone, and that it is not exclusive to any particular group or individual.
But hip-hop's culture ain't about just crime
KRS-One clarifies that Hip-Hop culture is not just about violence or crime, but rather a whole array of topics and themes.
You caught up in the image and, don't know they rhymes
KRS-One points out that many people who consume Hip-Hop media are more concerned about the image of the performers than their actual rhymes or lyrics.
You caught up in they bodies and don't know they minds
KRS-One suggests that many people are misled by the physical appearances or characteristics of Hip-Hop performers and do not understand their intellectual or mental capacity.
So I'm, here to bring the truth in the place
KRS-One sees himself as a purveyor of truth and is committed to revealing the truth about Hip-Hop culture to society.
Like don't think Common won't punch you in your face~!
KRS-One uses this line to assert that even Hip-Hop performers who are peaceful or conscious, like Common, can become violent or aggressive under certain circumstances.
And don't think Talib won't hold the heat
KRS-One uses this line to caution people not to underestimate Talib's capability to take on violent situations, even though he is a peaceful Hip-Hop performer.
To stop the violence you gotta know your street
KRS-One believes that to put an end to violence in the Hip-Hop community, one needs to understand and have knowledge about the conditions of the street environment.
You gotta know who Tanga Reed is
KRS-One mentions Tanga Reed, a social worker who made significant contributions to the Hip-Hop community, to highlight the importance of knowing the people who have made a difference in the community.
Fat Joe's a leader, Busta Rhymes a preacher
KRS-One recognizes Fat Joe and Busta Rhymes as important figures in the Hip-Hop community, with unique qualities and skills that make them leaders and preachers of Hip-Hop culture.
KRS-One's a teacher
KRS-One sees himself as a teacher of Hip-Hop culture to the Hip-Hop community and to society as a whole.
But through Cassidy my lessons are quicker to reach ya
KRS-One suggests that Cassidy is an excellent way to learn about Hip-Hop culture quickly due to his rapping style and lyrics.
We one community, I'm talkin about unity, in other words you and me
KRS-One reminds everyone that the Hip-Hop community is one and that they should work together for unity and progress, which ultimately benefits everyone in society.
Lyrics © Universal Music Publishing Group
Written by: THOR-EL, LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind
@Michelle_Schu-blacka
My favourite MC of all time.
I remember first hearing Stop The Violence a depressingly long time ago on an album called Rap Attack, which was the first Hip-Hop tape I ever bought.
It introduced me to KOOL Moe See, Stetsasonic, Roxanne, Roxanne Shante, Big Daddy Kane and even DJ Jazzy Jeff and the Fresh Prince.
But Stop The Violence hit me the hardest AND was my introduction to politics. 'We fight inflation yet the president is still on vacation' was the line where I first really thought about the politicians I heard about on the news and realised politicians don't care about us or are completely incompetent.
I ended joining the Conservative Party, which I'm sure Kris wouldn't approve of, but I liked how they handled the economy. I have left though, since they've taken a weird jump to the far-right that I can't be part of.
@MBC1988.
Who else bumping this in 2024?🔥🔥🔥
@adalbertobeats
KRS One the master of masters of hip hop
I come Back to this classic hip hop never get old.
Who stilling listen it in 2020 ?
@supermcfly100
Me
@dom2664
me some guy said this guy is like a megalodon compared to Eminem and sent me a link ehhh it’s classic asf but not really
@ETwOneE21
✊🏾✊🏾
@PedroSanchez-mv5fh
IF YOU WANT TO HEAR BARS FROM DEEP UNDERGROUND CHECK OUT HYNT. https://www.youtube.com/channel/UCSRO9z5BWLwTmuMkWsOasdQ?view_as=subscriber
@alexandrelima1419
I am here from Brazil
@Mnyamhotep
He is saying hip hop is conscious expression better yet consciousness expressing itself ♾
@truthhitman7473
The definition of Hip Hop right here
@radu02008
And the anthem