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..."
HipHop Knowledge
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
If you don't repeat the actions of your own success
You won't be successful
You gotta know your own formula, your own ingredients
What made you, YOU
1987 I was at the Latin Quarters
Listenin to Afrika Bambaata give the order
He said, "Record companies ain't got nuttin for ya!"
Without a lawyer, he taught The Infinity Lessons
In how hip-hop could be a, many a blessing
And that was great, so in 1988
There was no debate, we had to end the hate
The name of the game was "Stop the Violence"
And unity, knowledge, and self-reliance
We - started talkin bout Martin and Malcolm
Had these ghetto kids goin, "Huh, what about him?"
1989, Professor Griff speaks his mind
But his freedom of speech is declined
1990 came with the West coast
East coast, West coast, who is the best coast?
Lookin back now, of COURSE it was bogus
The whole argument was where we lost focus
We got hopeless; not with the lyrics and music
But with hip-hop, and how we used it
Or abused it, you know how the crew get
"You like it cause you choose it"
1991, we opened our eyes
With Human Education Against Lies, we tried
To talk about the state of humanity
But all these others rappers got mad at me
They called me "Captain Human", another message was sent
"Self Destruction don't pay the {fuckin} rent"
Remember that? Nobody wanted conscious rap
It was like - where these ballers at?
Where can they call us at? All was wack
Hip-Hop culture was fallin flat and that was that
So in 1992, I found my crew
They said, "Yo Kris, what you wanna do?"
I said, "Damn - why they wanna get with me?
If I bust they {shit} I'm contradictory.
If I play the bitch role, they take my shoe.
Tell me what the {fuck} am I supposed to do?"
So I did it, don't stop get it get it get it
All of a sudden these critics they wanna spit it
"Kay Are Ess One is con-tra-dic-to-ry"
Just cause I wouldn't let these rappers get with me
{Fuck} that, {fuck} you and {fuck} your pen
If a rapper wanna diss, yo I'd do it again
But I'm makin these ends, and I got my friends
And I really don't wanna have to sit in the pen
So I go back to the philosopher
1993 hip-hop is uhh.. wack
Go back, check the facts
1994, "Return of the Boom Bap"
It wasn't all about the loot
It was all about Harry Allen Rhythm Cultural Institute
Blowin up, 1995
Conscious rap is still alive
But nobody wanna play it, nobody wanna say it
Nobody okayed it, they'd all rather hate it
1996 it really don't stop
We put together somethin called the Temple of Hip-Hop
Not just DJin, breakin, graf and lyrics
But how hip-hop affects the spirit
"Step Into a World," that's what I did
1997 I was raisin my kid
Or kids, but I, had to go
Cause New York DJ's changed the flows
To clothes and hoes, but that wasn't me
I'll be damned if I dance for the MTV
So in 1998 I began to debate
Should I go now, or should I really wait?
'99, I moved to L.A. you see
And took a gig with the WB
Started studyin philosophy full-time
To have a full heart, full body, full mind
But you know what the problem is or was?
DJ's don't raise our kids, cuz
They so caught up in the cash and jewels
How they gonna really see a hip-hop school?
How they gonna really see a hip-hop temple?
They don't even wanna play my instrumentals, but
Big up Dr. Dre, Snoop, Xzibit
Especially Xzibit, he was there in a minute
Mic Conception, all of them, said
"Yo you need help? I should call them"
When I was in L.A., I held the crown
Bloods, Crips, they held me down
I could never forget Mad Lion, killer pride
With the gat in the lap in the low-ride
Oh I can't forget, Icy Ice, Lucky Lou
Julio G, that was the crew
Davey D, Ingrid, David Connor
The list goes on and on, let me tell ya
FredWreck, and my man Protest
Much respect, no less
To my spiritual and mental defenders
Big up to L.A., temple members
But in 2000, I seen how I wanted to live
I wasn't no executive
So I picked up the mic and I quit my job
Said to Simone I gotta get with God
She said, "Don't worry bout these dollars and quarters.
Record companies ain't got nuttin for ya."
Damn, she took me back to Bam!
Took me back to who I am!
Brought me back to the New York land!
Now I overstand!
{interviewer}
Now KRS-One, now you've been quoted as saying that
Rap is something we do, hip-hop is something you live.
{KRS} Yes!
{interviewer}
Explain that to us please.
{KRS-One}
Well, well, today hip-hop, we are advocating that hip-hop is not,
Just a music, it is an attitude, it is an awareness, it is a way
To view the world. So rap music, is something we do, but HIP-HOP,
Is something we live. And we look at hip-hop, in it's 9 elements;
Which is breaking, emceeing, graffiti art, deejaying, beatboxing,
Street fashion, street language, street knowledge, and street
Entrepenurialism - trade and business. And uhh, that's where y'know
That's the hip-hop that that that we're about. We come from the uhh
The root of, of Kool DJ Herc, who originated hip-hop in the early 70's
And then Afrika Bambaata and Zulu Nation (mmhmm)
Who instigated something called The Infinity Lessons
And added conciousness to hip-hop, and then Grandmaster Flash
With the invention of the mixer, on to Run-D.M.C. and then myself.
And uhh, we created the "Stop the Violence" movement, you may recall
A song, "Self Destruction" and and and so on. All of this, goes to
Uhh uhh, the idea of LIVING this culture out and taking responsibility
For how it looks and and acts in society.
The lyrics of KRS-One's "HipHop Knowledge" reflect the rapper's journey into the hip-hop industry and his observations about the genre's evolution. The song narrates his interaction with influential hip-hop artists and events during different periods of time. The opening lines of the song suggest that an individual's success depends on repeating their own formula instead of someone else's. KRS-One believed that understanding one's own ingredients and formula was the key to maintaining success.
The rapper takes the listeners through the different periods of hip-hop history, starting from 1987 when he was listening to Afrika Bambaata at the Latin Quarters. He then talks about the rise of the "Stop the Violence" movement, which was founded to promote unity, knowledge, and self-reliance. KRS-One discusses how the conscious rap he was promoting was disregarded by other rappers and the mainstream music industry. He touches on the emergence of gangster rap and the changes happening in New York's hip-hop scene. The lyrics conclude with KRS-One's return to New York in 2000 when Simone brought him back to his roots and overstanding of hip-hop's cultural importance.
Overall, "HipHop Knowledge" is KRS-One's take on the history of hip-hop and how it evolved. The lyrics suggest that the genre was once used to promote conscious rap, but its creativity, essence, and objectives have been watered down to exploit the commercial aspect of the industry. The lyrics also indicate that the need for conscious and meaningful content in hip-hop is more urgent now than ever before.
Line by Line Meaning
You know, life is funny
Life can be unpredictable and ironic
If you don't repeat the actions of your own success
If you don't replicate the steps that led to your success
You won't be successful
You won't achieve success
You gotta know your own formula, your own ingredients
You need to understand what makes you unique and successful
What made you, YOU
The factors and experiences that shaped your identity
1987 I was at the Latin Quarters
In 1987, I was at the Latin Quarters nightclub
Listenin to Afrika Bambaata give the order
Listening to Afrika Bambaataa give instructions
The call of the order was to avoid the slaughter
The instructions were aimed at preventing violence
He said, 'Record companies ain't got nuttin for ya!'
He emphasized that record companies have nothing to offer
Without a lawyer, he taught The Infinity Lessons
He educated us about The Infinity Lessons without legal representation
In how hip-hop could be a, many a blessing
He showed us the positive aspects and blessings of hip-hop
And that was great, so in 1988
The knowledge imparted was significant, leading to actions in 1988
There was no debate, we had to end the hate
There was a consensus that hatred needed to be stopped
The name of the game was 'Stop the Violence'
The primary focus was on putting an end to violence
And unity, knowledge, and self-reliance
Promoting unity, knowledge, and individual empowerment
We - started talkin bout Martin and Malcolm
Discussions shifted towards Martin Luther King Jr. and Malcolm X
Had these ghetto kids goin, 'Huh, what about him?'
Ghetto kids started questioning their teachings and impact
1989, Professor Griff speaks his mind
In 1989, Professor Griff expressed his thoughts openly
But his freedom of speech is declined
However, his right to freedom of speech was suppressed
1990 came with the West coast
In 1990, the West coast became influential in hip-hop
East coast, West coast, who is the best coast?
A debate arose regarding which coast was superior
Lookin back now, of COURSE it was bogus
Reflecting on it now, it was clearly ridiculous
The whole argument was where we lost focus
The entire argument distracted us from more important matters
We got hopeless; not with the lyrics and music
Our hopelessness wasn't related to the quality of lyrics and music
But with hip-hop, and how we used it
Our hopelessness stemmed from our misuse of hip-hop
Or abused it, you know how the crew get
We often mistreated and exploited hip-hop
'You like it cause you choose it'
You enjoy it because you make the choice to do so
1991, we opened our eyes
In 1991, we became aware of certain truths
With Human Education Against Lies, we tried
We made an effort through Human Education Against Lies
To talk about the state of humanity
To discuss the condition of humanity
But all these others rappers got mad at me
Many other rappers became angry with me
They called me 'Captain Human', another message was sent
They mocked and labeled me as 'Captain Human'
'Self Destruction don't pay the {fuckin} rent'
They criticized the ineffectiveness of 'Self Destruction'
Remember that? Nobody wanted conscious rap
Does anyone recall? Conscious rap was not popular
It was like - where these ballers at?
People were more interested in materialistic 'ballers'
Where can they call us at? All was wack
There was a lack of meaningful content in mainstream rap
Hip-Hop culture was fallin flat and that was that
Hip-hop culture was declining, and it seemed inevitable
So in 1992, I found my crew
In 1992, I discovered my group of like-minded individuals
They said, 'Yo Kris, what you wanna do?'
They asked me about my aspirations
I said, 'Damn - why they wanna get with me?
I questioned why they sought my involvement
If I bust they {shit} I'm contradictory.
Engaging in conflict with them would be hypocritical
If I play the bitch role, they take my shoe.
If I act submissive, they will disrespect me
Tell me what the {fuck} am I supposed to do?'
I was uncertain about the appropriate course of action
So I did it, don't stop get it get it get it
I went ahead and pursued my goals relentlessly
All of a sudden these critics they wanna spit it
Suddenly, critics wanted to express their opinions
'Kay Are Ess One is con-tra-dic-to-ry'
They claimed I was contradictory
Just cause I wouldn't let these rappers get with me
Simply because I didn't collaborate with these rappers
{Fuck} that, {fuck} you and {fuck} your pen
I dismissed and disregarded their criticisms
If a rapper wanna diss, yo I'd do it again
If any rapper wants to provoke me, I would respond
But I'm makin these ends, and I got my friends
I am earning a living and have loyal companions
And I really don't wanna have to sit in the pen
I have no desire to end up in prison
So I go back to the philosopher
I return to being a philosopher and deep thinker
1993 hip-hop is uhh.. wack
In 1993, hip-hop became mediocre and unappealing
Go back, check the facts
Reflect on the evidence and truth
1994, 'Return of the Boom Bap'
In 1994, the release of 'Return of the Boom Bap'
It wasn't all about the loot
It wasn't solely focused on material gain
It was all about Harry Allen Rhythm Cultural Institute
It emphasized the significance of the Harry Allen Rhythm Cultural Institute
Blowin up, 1995
Gaining popularity and success in 1995
Conscious rap is still alive
Conscious rap continues to exist
But nobody wanna play it, nobody wanna say it
However, nobody wants to promote or talk about it
Nobody okayed it, they'd all rather hate it
Nobody supported it, instead they preferred to criticize
1996 it really don't stop
In 1996, the progress and creativity continue
We put together somethin called the Temple of Hip-Hop
We established an organization known as the Temple of Hip-Hop
Not just DJin, breakin, graf and lyrics
Not limited to DJing, breakdancing, graffiti, and lyrics
But how hip-hop affects the spirit
By exploring how hip-hop influences the soul
'Step Into a World,' that's what I did
I entered a realm that embraced authentic hip-hop
1997 I was raisin my kid
In 1997, I was actively parenting my child
Or kids, but I, had to go
Or children, but I had to leave
Cause New York DJ's changed the flows
Because New York DJs altered their styles
To clothes and hoes, but that wasn't me
To material possessions and women, but I wasn't interested
I'll be damned if I dance for the MTV
I refused to conform or cater to MTV's desires
So in 1998 I began to debate
In 1998, I started considering different options
Should I go now, or should I really wait?
Should I leave the industry immediately or wait?
'99, I moved to L.A. you see
In 1999, I relocated to Los Angeles
And took a gig with the WB
And secured a job opportunity with the WB network
Started studyin philosophy full-time
I committed to studying philosophy extensively
To have a full heart, full body, full mind
To achieve a state of wholeness and complete wellness
But you know what the problem is or was?
However, do you know what the issue was?
DJ's don't raise our kids, cuz
DJs aren't responsible for raising our children
They so caught up in the cash and jewels
They are overly focused on money and material possessions
How they gonna really see a hip-hop school?
How can they fully understand a hip-hop educational institution?
How they gonna really see a hip-hop temple?
How can they truly comprehend a hip-hop temple?
They don't even wanna play my instrumentals, but
They don't even want to use my instrumentals, but
Big up Dr. Dre, Snoop, Xzibit
Respect to Dr. Dre, Snoop Dogg, and Xzibit
Especially Xzibit, he was there in a minute
Specifically Xzibit, who showed up promptly
Mic Conception, all of them, said
Mic Conception and all the others expressed
'Yo you need help? I should call them'
Offering assistance and suggesting I reach out to them
When I was in L.A., I held the crown
During my time in L.A., I was highly regarded
Bloods, Crips, they held me down
Even the Bloods and Crips supported and protected me
I could never forget Mad Lion, killer pride
I will always remember Mad Lion, representing strength
With the gat in the lap in the low-ride
Armed with a gun in our lowrider vehicle
Oh I can't forget, Icy Ice, Lucky Lou
I mustn't overlook Icy Ice and Lucky Lou
Julio G, that was the crew
And let's not forget, Julio G, that was the group
Davey D, Ingrid, David Connor
Also, Davey D, Ingrid, and David Connor
The list goes on and on, let me tell ya
There are many more names to mention, believe me
FredWreck, and my man Protest
FredWreck and my friend Protest deserve recognition
Much respect, no less
They deserve great respect, without question
To my spiritual and mental defenders
I extend my appreciation to those who protect my spirit and mind
Big up to L.A., temple members
Shout out to the members of the temple in Los Angeles
But in 2000, I seen how I wanted to live
However, in 2000, I realized my preferred way of life
I wasn't no executive
I didn't desire to be a corporate executive
So I picked up the mic and I quit my job
Therefore, I returned to rapping and left my job
Said to Simone I gotta get with God
I told Simone that I needed to focus on my spirituality
She said, 'Don't worry bout these dollars and quarters.
She reassured me not to worry about money
Record companies ain't got nuttin for ya.'
Because record companies can't provide what truly matters
Damn, she took me back to Bam!
Her words reminded me of Afrika Bambaataa's teachings
Took me back to who I am!
It brought me back to my authentic self
Brought me back to the New York land!
Returned me to my roots in New York
Now I overstand!
Now I fully comprehend and grasp the understanding
{interviewer}
Interviewer's remark
Now KRS-One, now you've been quoted as saying that
KRS-One, you have previously stated
Rap is something we do, hip-hop is something you live.
Rap is an activity, while hip-hop is a lifestyle
{KRS} Yes!
KRS-One confirms and agrees
{interviewer}
Interviewer's remark
Explain that to us please.
Kindly provide an explanation of that statement
{KRS-One}
KRS-One's response
Well, well, today hip-hop, we are advocating that hip-hop is not,
Currently, in hip-hop, we advocate that it is not
Just a music, it is an attitude, it is an awareness, it is a way
Merely a form of music, but it encompasses an attitude, awareness, and a way of life
To view the world. So rap music, is something we do, but HIP-HOP,
To perceive the world. Thus, rap music is an activity, but HIP-HOP
Is something we live. And we look at hip-hop, in it's 9 elements;
Is a way of living. And we examine hip-hop through its 9 elements:
Which is breaking, emceeing, graffiti art, deejaying, beatboxing,
These elements include breaking, emceeing, graffiti art, DJing, beatboxing
Street fashion, street language, street knowledge, and street
Street fashion, street language, street knowledge, and street
Entrepenurialism - trade and business. And uhh, that's where y'know
Entrepreneurialism - trade and business. That's where, you know
That's the hip-hop that that that we're about. We come from the uhh
That's the essence of hip-hop we represent. We originated from, uh
The root of, of Kool DJ Herc, who originated hip-hop in the early 70's
The foundation laid by Kool DJ Herc, the pioneer of hip-hop in the early 70s
And then Afrika Bambaata and Zulu Nation (mmhmm)
Followed by Afrika Bambaataa and the Zulu Nation
Who instigated something called The Infinity Lessons
Who introduced The Infinity Lessons
And added conciousness to hip-hop, and then Grandmaster Flash
And incorporated consciousness into hip-hop, followed by Grandmaster Flash
With the invention of the mixer, on to Run-D.M.C. and then myself.
Who invented the mixer technique, eventually leading to Run-D.M.C. and myself
And uhh, we created the 'Stop the Violence' movement, you may recall
We initiated the 'Stop the Violence' movement, which you may remember
A song, 'Self Destruction' and and and so on. All of this, goes to
The song 'Self Destruction,' and so on. All of these initiatives contribute to
Uhh uhh, the idea of LIVING this culture out and taking responsibility
The notion of LIVING this culture and assuming accountability
For how it looks and and acts in society.
For its appearance and behavior within society.
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: DOMINGO F. PADILLA, LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind