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 vs. Rap
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Friday....
You you can't can't be be ripping the mic the mic
like do re me me measels are contagious like my lyrical pages
ripping and flipping the mic
from back in the back in the days the days its kinda hectic hectic
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 Shakespear, 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 Terrordome, the Terrordome
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!
The opening line in KRS-One's song "Hiphop vs. Rap" is a reference to the singer jam sessions that used to occur in hip-hop's early days, where MCs would battle each other to see who was the best on the mic. The singer jam sessions were often held in parks or community centers and consisted of a DJ playing beats and MCs taking turns rapping over them. KRS-One is saying that if you can't rap like him or other skilled MCs, then you shouldn't be on the mic.
KRS-One then goes on to explain the difference between rap and hip-hop. He says that rap is something you do, while hip-hop is something you live. KRS-One is essentially saying that rap is just one element of hip-hop culture, which also includes things like DJing, breakdancing, and graffiti art. He goes on to criticize modern rappers who rely on gimmicks and don't have the skill to build their craft. KRS-One also references various other artists and songs throughout the song, showcasing his knowledge and appreciation for hip-hop history.
Overall, "Hiphop vs. Rap" is a love letter to authentic hip-hop culture, and a call to arms for MCs to step up their game and stop relying on superficial gimmicks.
Line by Line Meaning
You you can't can't be be ripping the mic the mic
You can't perform on the mic with constant repetition and bad copying.
like do re me me measels are contagious like my lyrical pages
Just like the measles are contagious, my rhymes and flow on the mic are unstoppable and infectious.
ripping and flipping the mic
Performing on the mic with pure energy and creativity.
from back in the back in the days the days its kinda hectic hectic
Referring to how hip hop used to be wild and uncontained, but now it's more mainstream and formulaic.
when these suckas don't respect it, check it. Flame on.
When people don't respect hip hop, KRS-One will bring the fiery truth to light.
I know the light is bright but keep on watching me
Hip hop may seem flashy and bright, but keep paying attention to see its true depth and transformative power.
I'm stolen property, kicking the flavor to society.
KRS-One is a rebel and a revolutionary, and is constantly expressing his unique flavor and artistic voice to the broader culture.
Police be clocking me, but logically they got to be cause they were taught that serious poetry would come from Socrates.
Police may be watching KRS-One because hip hop is widely misunderstood and undervalued by those in power, who mistakenly believe it has no real cultural merit.
But that ain't it, in 94 I'll kick the hit
KRS-One is always innovating, and is predicting that his music will be a hit in 1994.
and if I was in front of Shakespear, battle a punk and take his shit.
KRS-One would readily and confidently confront even the greatest literary minds of the past, and would come out victorious.
I'm not having it, bust a narrative and come to get with it.
KRS-One is not satisfied with the current state of hip hop, and is working to change the narrative and usher in a new era of the genre.
Rap is something you do, hip hop is something you live.
Hip hop is not just a performance genre, it's a way of life and a lived experience that informs everything one does, says, and creates.
The difference is kids nowadays, they got the videos.
Today's generation of hip hop artists often prioritize style and visual aesthetics over true lyrical and musical substance.
Rappers don't need skills to build so they don't really know.
Many contemporary rappers don't have the same level of skill and creative vision that earlier hip hop artists did, and that's reflected in their music.
Hear me yo, I'm four times on Arsenio, got ten videos, but does that help me flow? No.
Even though KRS-One has commercial success and visibility, he doesn't let that distract from his true artistic and creative motivations.
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
Younger generations of rappers don't have the same cultural context and appreciation for the origins of hip hop music and dance culture.
Frisco disco the disc is like a Nabisco chocolate chip cookie, don't fuck with me rookie.
A playful and metaphorical reference to San Francisco's disco scene, KRS-One asserts his skill and verbal virtuosity as a warning to newcomers.
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
KRS-One is always pushing the envelope and taking risks in his music, and he's not afraid to speak out against injustice and oppression on a personal and political level.
so this DJ, he gets down mixing records while they go round and round round we go
A fun reference to the endless and dizzying possibilities of DJing and remixing in the hip hop world.
two years ago a friend of mine and Flash is gonna rock your mind welcome to the Terrordome, the Terrordome
KRS-One is referencing both a classic Run DMC track ('My Adidas') and a later Public Enemy hit ('Welcome to the Terrordome') to assert his place in the hip hop pantheon.
I wonder if I take you home E-F-F-E-C-T a cool operator operating correctly
A playful reference to an early hip hop classic ('Roxanne, Roxanne') to show KRS-One's deep connection to the history and roots of the genre.
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
KRS-One has always believed in the power and longevity of hip hop, and isn't afraid to push the boundaries of what it's capable of expressing.
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
A fun shout-out to other hip hop artists and communities, highlighting the rich cultural legacy and diverse geographic origins of this genre.
party people, I came through the door, I said it before
A classic hip hop intro that emphasizes the importance of live, in-person performances and connecting with the community of fans and followers.
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
KRS-One is referencing some of his own earlier work ('Super Hoe') and highlighting the importance of persistence and resilience in the face of adversity and obstacles.
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
Acknowledging the cutthroat competition and verbal takedowns that are part of hip hop culture, while also recognizing that the genre is all about pushing forward and continuing to innovate.
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
A fun and nostalgic nod to the popular culture of the time, showcasing KRS-One's ability to connect with a broad range of fans and listeners across different genres and backgrounds.
Yeah!
A simple and emphatic way to end the song and signal KRS-One's ongoing commitment to hip hop culture and creative expression.
Contributed by Jason M. 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