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..."
Hip Hop vs. Rap
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And tuition will be paid on Friday [unverified]
You you can't can't be be ripping the mic the mic
Like do re me me measles are contagious
Like my lyrical pages ripping and flipping the mic
From back in the back in the days the days
Don't respect it check it, flame on
I know the light is bright but keep on watching me
I'm stolen property, kicking the flavor to society
Police be clocking me, but logically they got to be
'Cause they were taught that serious poetry
Would come from Socrates
But that ain't it, in 94 I'll kick the hit
And if I was in front of Shakespeare
Battle a punk and take his shit, I'm not having it
Bust a narrative and come to get with it
Rap is something you do, hip hop is something you live
The difference is kids nowadays, they got the videos
Rappers don't need skills to build so they don't really know.
Hear me yo, I'm four times on Arsenio
Got ten videos, but does that help me flow? No
That's why when I come to the show MC's act like they don't know
'Cause they were too young to rock up in the disco
Frisco disco, the disc is like a Nabisco
Chocolate chip cookie, don't fuck with me rookie
I'm rocking beats and with death defying feats
And I'm never sneaking, always peeping when I'm speaking
Inside, I'm keeping a statement for police and
I'm down for peace and but not turn the other cheek
And so this DJ, he gets down mixing records
While they go 'round and 'round, 'round we go
Two years ago a friend of mine and Flash is gonna rock your mind
Welcome to the terror dome, the terror dome
I wonder if I take you home E F F E C T a cool operator
Operating correctly but back in the day I knew rap would never die
Too late baby bwai bai in a body boy head, head
Head insane in the membrane take the train, take the train
M E T H O D man 'hattan keeps on making it
Brooklyn keeps on taking it
We keep coming back with more and more hits
Party people, I came through the door, I said it before
Two years ago, super hoe if my train goes off the track
Pick it up, pick it up, pick it up back, back
Back to the grill again, the grill again friends
How many MC's must get dissed?
Before somebody says don't fuck with Chris
Hey, ho, keep on moving don't stop no body beats the biz
Let's do the dance called the Pee Wee Herman
Hey, Erick Sermon, hey, you you get off my cloud
Go down baby, go down baby, the gods must be crazy
You ain't fresh, you ain't fresh, yeah
In "Hip Hop vs. Rap," KRS-One raps about the difference between hip hop and rap music as he sees it. He explains that rap is just something you do - writing and performing rhymes - while hip hop is a way of life that incorporates the artistic elements of rap, DJing, breakdancing, and graffiti. He criticizes rappers who lack skills and rely on videos to sell their music, and he stresses the importance of respecting the history of hip hop and its pioneers.
Throughout the song, KRS-One showcases his own skills as an MC, using a variety of rhyme patterns and wordplay in his lyrics. He boasts about his past successes, including appearances on The Arsenio Hall Show and ten music videos, but emphasizes that these accomplishments don't necessarily make him a better rapper. He also references other rap songs and artists, including Grandmaster Flash, Public Enemy, EPMD, Method Man, and Eric B. & Rakim.
Overall, "Hip Hop vs. Rap" is a powerful message about the value and importance of hip hop culture, and a critique of the commercialization and degradation of rap music.
Line by Line Meaning
Of course we have just accepted all applications
We are open to anyone who wants to participate
And tuition will be paid on Friday
Payment for participation will be provided at the end of the week
You you can't can't be be ripping the mic the mic
Using the microphone excessively is not productive
Like do re me me measles are contagious
Just like how the measles virus spreads, the style of rap can quickly become popular
Like my lyrical pages ripping and flipping the mic
My lyrics have the ability to skillfully and rapidly manipulate the microphone
From back in the back in the days the days
This skill was developed and perfected in the past
It's kinda hectic, hectic when these suckas
Things become tumultuous when others do not appreciate the art
Don't respect it check it, flame on
However, the passion for hip hop continues to burn brightly regardless
I know the light is bright but keep on watching me
Despite difficulties, continue to observe my success
I'm stolen property, kicking the flavor to society
My talent has been usurped by others but I will continue to influence culture with the unique style of hip hop
Police be clocking me, but logically they got to be
The police monitor me closely, but it is understandable given their training to associate poetry with academia
'Cause they were taught that serious poetry
This is because they were educated to believe that proper poetry is academic
Would come from Socrates
In the tradition of classic wisdom
But that ain't it, in 94 I'll kick the hit
However, the art has evolved and newer styles will emerge
And if I was in front of Shakespeare
Even in the presence of famous literary figures, I would still hold my own in a rap battle
Battle a punk and take his shit, I'm not having it
I won't let anyone disrespect the art and will confront them
Bust a narrative and come to get with it
I will tell my story and perform to show the true essence of hip hop
Rap is something you do, hip hop is something you live
Rapping is merely a technique but hip hop is a lifestyle
The difference is kids nowadays, they got the videos
The current generation is more focused on the visual aspects of music production rather than lyrical skill
Rappers don't need skills to build so they don't really know.
Newer artists rely less on their abilities and more on technology to build their career
Hear me yo, I'm four times on Arsenio
Despite this, I have still been successful and performed on multiple occasions
Got ten videos, but does that help me flow? No
However, the production of these videos does not necessarily add to my musical abilities
That's why when I come to the show MC's act like they don't know
Other musicians act surprised when they hear me perform because they underestimate my skill
'Cause they were too young to rock up in the disco
This is because they did not experience the era when the disco genre was popular
Frisco disco, the disc is like a Nabisco
I reference an iconic brand to compare the likeness between music and a circular disc
Chocolate chip cookie, don't fuck with me rookie
I am a master of the art and do not tolerate those who are inexperienced
I'm rocking beats and with death defying feats
I produce and perform with incredible talent and bravery
And I'm never sneaking, always peeping when I'm speaking
When I speak, I am always confident and unapologetic but also aware of my surroundings
Inside, I'm keeping a statement for police and
I have important things to say about societal issues, especially those that involve the police
I'm down for peace and but not turn the other cheek
I believe in peaceful solutions, but I won't tolerate taking abuse or being disrespected
And so this DJ, he gets down mixing records
This is the role of the DJ in hip hop culture
While they go 'round and 'round, 'round we go
The DJ and rapper weave their talents together in a circular fashion
Two years ago a friend of mine and Flash is gonna rock your mind
A famous DJ and rapper will combine their talents to create an unforgettable performance
Welcome to the terror dome, the terror dome
This line is a reference to the song 'Welcome to the Terrordome' by Public Enemy
I wonder if I take you home E F F E C T a cool operator
This is a reference to the song 'I Wonder If I Take You Home' by Lisa Lisa and Cult Jam
Operating correctly but back in the day I knew rap would never die
Despite changes in the music industry, I still firmly believe that hip hop culture will always be relevant
Too late baby bwai bai in a body boy head, head
This line may be referencing dancehall or reggae culture
Head insane in the membrane take the train, take the train
I have incredible lyrical abilities and encourage others to follow me
M E T H O D man 'hattan keeps on making it
This is a reference to Method Man of the Wu-Tang Clan
Brooklyn keeps on taking it
This is a reference to the hip hop scene in Brooklyn, NY
We keep coming back with more and more hits
Hip hop artists will continue to produce popular songs
Party people, I came through the door, I said it before
I am announcing my arrival and have made this statement in past performances
Two years ago, super hoe if my train goes off the track
I am reflecting on events that took place two years ago and may reference a specific event or time in my life
Pick it up, pick it up, pick it up back, back
This is a call to action to those who can appreciate the art form
Back to the grill again, the grill again friends
I am returning to the source or origin of hip hop culture
How many MC's must get dissed?
There has been a culture of negative criticism and disrespect between artists
Before somebody says don't fuck with Chris
This line is a warning to others to not provoke KRS-One or the hip hop community as a whole
Hey, ho, keep on moving don't stop no body beats the biz
Encouragement to keep moving and producing music, no one is better than the hip hop industry
Let's do the dance called the Pee Wee Herman
This line is referencing a popular 80s dance move
Hey, Erick Sermon, hey, you you get off my cloud
This line references the Rolling Stones song 'Get Off My Cloud' and is a callout to Erick Sermon of EPMD
Go down baby, go down baby, the gods must be crazy
This may be a nod to the 1980 film 'The Gods Must Be Crazy'
You ain't fresh, you ain't fresh, yeah
This line is aimed at those who do not appreciate the artist's unique style and skill
Contributed by Brody R. Suggest a correction in the comments below.
@7777Lace
KRS IS THE GREATEST MC PAR NONE!!! There’s NO MC WHO CAN FK WITH HIM!!!! NONE!!! Check the lyrics from “Double Trouble” & NO MC HAS EVER TRIED HIM TO DATE!!! If Eminem challenged KRS & WON, then I will co-sign him for the GOAT🐐TITLE, BUT I don’t see that happening!!!
“Keep your conversations to a minimal, Mind it
I'm still Criminal Minded-If you listen you'll find it.
Any time you wanna commit professional suicide, Find my tour guide-Collide where I reside.
And you'll be hog tied-Crucified & drip dried, I'm amplified like the 5 O’clock free ride.
You've been notified we can take this outside-Statewide, along the country side I'll leave you cross eyed.”
@treytaylor8780
A verse made of classic hip hop lines.. That's insane..
@NitroDeluxe1
Need to here tubes like this to remind us what Hip Hop REALLY should sound like ..
@felixdoylehammond2497
Word
@johnjenkinsjr45
Love this song! Don't matter when it came out! Much respect!!!!❤
@78cat78
Hey erick sermon hey u u get off my cloud 😅
@jaska138
I been looking this track for ages! I remember when Kriss rocked this in some live television show in 90s since then it been removed.
@2stiloazboymusic238
We sure need this back, hip-hop culture is something these mumble rappers don't live by.
@ElScorpio101
totally crazy how he puts together lines of what, 20 different tracks...skills!
@trevorgolding9200
Kenny Parker's hip-hop stories video brought me here. Middle section w/ classic lines reminds me of 'KRS-One Attacks' except it's other artists' songs with Kris saying the samples. Dope.
@MrAntiSellOut
This one goes out to the ones who still think that Rap and Hip Hop are the same