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..."
I Been There
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You killin' 'em, where were you?
I wanna talk about these rap historians
Y'all better get it together, where were you?
I be readin' your books, where were you?
Y'all better get it together, word up
When Hot 97 started I was there
When KDAY got started I was there
When Jive Records got started I was there
When Yo MTV Raps started I was there
When The Source magazines started I was there
When Cedric and Seda started I was there
When Biggie was doin' his album I was there
When Tookie Williams was buried I was there
'73, Cedar Park I was there
One-twenty-three park I was there
You ain't tellin' me the history 'cause I was there, I was there
And where were you? Where were you?
And where were you? Where were you?
And where were you? Where were you?
Where were you?
When Moe Dee challenged LL I was there
When that bus blew up in London I was there
When Death Row challenged Bad Boy at the Source Awards
In New York at the Garden, yup I was there
When Kwame Toure formerly known as Stokely Carmichael
Was passin' on I was there
When Nelson Mandela was freed from prison
And spoke out at Yankee Stadium in New York I was there
For all the births of my children I was there
When the Rodney King uprisings happened I was there
These objective rap historians tryin' to document
Hip hop from outside forget it I was there, I was there
And where were you? Where were you?
And where were you? Where were you?
And where were you? Where were you?
Where were you?
Look, The Jive Records label, I was there
The Columbia Records label, I was there
The Elektra Records label, I was there
The Warner Brothers Records label, I was there
The Koch Records label, I was there
The Capitol Records label, I was there
I know about they contracts 'cause I was there
I wrote and rewrote most of 'em when I was there
I ain't readin' a book or recitin' a hook
I am hip hop itself 'cause yup I was there
Y'all need to get it together with hip hop's history
And get it right 'cause yup I was there, I was there
And where were you? Where were you?
And where were you? Where were you?
And where were you? Where were you?
Where were you?
The song, "I Was There" by KRS-One and Marley Marl is an ode to the duo's presence and participation in hip hop history. In each verse, KRS-One lists major events in hip hop and world history and asserts his personal involvement in them. Through each verse, he highlights his frustration with rap historians who try to document the genre while simultaneously disregarding the firsthand accounts of those who lived through it. He calls on these historians to "get it together with hip hop's history and get it right." KRS-One takes pride in being a part of hip hop history, and his lyrics serve as a reminder to those who have tried to revise or appropriate it.
The song is an assertion of KRS-One's place in hip hop history and the creation of hip hop as a cultural movement. As one of the pioneers of hip hop in the '80s, KRS-One was present at several crucial moments in the genre's history: the birth of rap as a commercial success, the establishment of alternative outlets for hip hop, and the evolution of rap's style and messaging. The song's chorus, "And where were you? Where were you?" is a challenge to other rappers, historians, and fans to recognize his contributions and presence in hip hop's history.
Overall, "I Was There" is a powerful statement on the importance of representing history accurately and truthfully, and the value of firsthand accounts in documenting that history. KRS-One's lyrics serve as a reminder that hip hop is a living, breathing culture that is constantly evolving and growing, but should always be rooted in the experiences of those who lived it.
Line by Line Meaning
Do it Marley, ha, killin' 'em
Encouraging Marley Marl to show off his skills
You killin' 'em, where were you?
Challenging rap historians to know and acknowledge their place in hip hop history
I wanna talk about these rap historians
Introducing the topic of the song: the importance of properly documenting and recognizing hip hop history
Y'all better get it together, where were you?
Urging rap historians to be accurate in their documentation of hip hop history
I be readin' your books, where were you?
Challenging rap historians to be truthful about the history they write about
When Hot 97 started I was there
Recalling being present at the start of Hot 97, a popular radio station for hip hop
When Rap City got started I was there
Reminiscing about being present at the start of Rap City, a hip hop music video show
When KDAY got started I was there
Remembering being present at the start of KDAY, a hip hop radio station
When Jive Records got started I was there
Recalling being present at the start of Jive Records, a record label that has signed numerous hip hop artists
When Yo MTV Raps started I was there
Reminiscing about being present at the start of Yo MTV Raps, a popular hip hop music video show
When The Source magazines started I was there
Remembering being present at the start of The Source magazine, a prominent hip hop publication
When Cedric and Seda started I was there
Recalling being present when Cedric and Seda, two hip hop innovators, began their contributions to the genre
When Biggie was doin' his album I was there
Remembering being present during the recording of The Notorious B.I.G.'s album
When Tookie Williams was buried I was there
Reminiscing about being present at the funeral of Stanley Tookie Williams, a convicted murderer and gang co-founder who later gained notoriety for his anti-gang activism
'73, Cedar Park, I was there
Recalling being present at Cedar Park in 1973, a location important to hip hop history
One-twenty-three park I was there
Remembering being present at 123 park, another location important to hip hop history
You ain't tellin' me the history 'cause I was there, I was there
Asserting that personal experience is invaluable when it comes to understanding hip hop history
When Moe Dee challenged LL I was there
Reminiscing about being present during the legendary battle between KRS-One's rival MCs
When that bus blew up in London I was there
Recalling being present during a significant event that occurred in London
When Death Row challenged Bad Boy at the Source Awards
Remembering being present at the Source Awards in New York when there was beef between Death Row Records and Bad Boy Records
In New York at the Garden, yup I was there
Remembering being physically present at Madison Square Garden during a significant event
When Kwame Toure formerly known as Stokely Carmichael
Was passin' on I was there
Recalling being present when Kwame Toure, also known as Stokely Carmichael, passed away
When Nelson Mandela was freed from prison
And spoke out at Yankee Stadium in New York I was there
Remembering being present when Nelson Mandela was freed from prison and gave a speech at Yankee Stadium in New York
For all the births of my children I was there
Asserting that he was physically present for the birth of all of his children
When the Rodney King uprisings happened I was there
Recalling being present during the Rodney King uprisings, a significant event in American history
These objective rap historians tryin' to document
Hip hop from outside forget it I was there, I was there
Challenging the notion that objective historians can fully understand and document hip hop history without having lived it
The Jive Records label, I was there
Recalling being present when Jive Records was founded
The Columbia Records label, I was there
Remembering being present when Columbia Records was founded
The Elektra Records label, I was there
Recalling being present when Elektra Records was founded
The Warner Brothers Records label, I was there
Remembering being present when Warner Brothers Records was founded
The Koch Records label, I was there
Recalling being present when Koch Records was founded
The Capitol Records label, I was there
Remembering being present when Capitol Records was founded
I know about they contracts 'cause I was there
Asserting that he played an active role in negotiating and writing contracts for hip hop artists
I wrote and rewrote most of 'em when I was there
Asserting that he was heavily involved in drafting contracts for hip hop artists
I ain't readin' a book or recitin' a hook
I am hip hop itself 'cause yup I was there
Asserting that he personally embodies the spirit of hip hop
Y'all need to get it together with hip hop's history
And get it right 'cause yup I was there, I was there
Urging rap historians to properly document and acknowledge hip hop history, using his own experience as evidence of the importance of lived experience
Where were you?
Rhetorical question challenging listeners to acknowledge their own place (or lack thereof) in hip hop history
Lyrics © Universal Music Publishing Group
Written by: LAWRENCE KRSONE PARKER, MARL MARLEY
Lyrics Licensed & Provided by LyricFind
@juliciencia
i dont even know but is that first part breakfast in America????? from supertramp????
@MISTYEYED.
Great Question Miss Galexia