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..."
Move Ahead
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Real skills, Bronx styles, Cypress Ave meets Cypress Hill
Real hip-hop, bounce to this shit motherfuckers, READ EM!
You know what's up, SHRAP!
commissioner Gordon rock on
Tony Touch why'all rock on
Kid Capri yeah rock on
DJ Kenny Coffin yo rock on
[Verse 1:]
In 199-sess, KRS is in his peak-in
You are weak-in and collapse like Mike, collect the beacon
You talk more ish than a cellullar
You can't last, just call me Enema
'cause I give that ass-troid, heaven and mergatroid
I'm that six, umm, microphone-holdin humanoid
Pyschological like Sigmund Freud
But I get annoyed 'cause these rappers have no brain
These hardcore rappers crack me up like cocaine
They got no skill or game
They sellin that commercial let me say it
"Ask for Minoxadil with Rogaine"
True skills I will explain
The teacher breaks this whole shit down plain
[Chorus:]
West Coast beef must dead, no-ho-ho
East Coast beef must dead, no-ho-ho
Time for us to move ahead, no-ho-ho
be -boy hip-hop is dead, no
We must move ahead (x8)
[Verse 2:]
People always say when they see us, teach us
so we move by the inch, teachin only some of it, believe us
Hustlas and players and hos will never leave us
They been around since Mary Magdalene and Jesus
Run wit it, pimps and players run the government
We been raised on a tonne of it that's why we're lovin it
Bein a player is cool when you a kid
until you get sent up for a eight year bid
Now you use and abuse and serve like hell
til one day you are found face down upon the ground
two shots to the dome, we need to switch quick
Dyin over what you players, I think, call a bitch
I'm not a player hater 'cause I hate no one
but when you start destroyin hip-hop, you gots ta go, son
Government attack one who's brainwashed
Government attack two who is, yes, brain rinsed
Government attack three is for you and me
to constantly dream about the Lex with bulletproof tints
It's pointless to think I'm knockin ya
If you a pimp, be a pimp, I'll be a philosopher
So the....
[Chorus]
[Verse 3:]
why-yes are the intelligent, we descend on every establishment
In the East or West, microphone grabbin it
Chess-to-chess, lyrical confrontation is dope
for the hip-hop nation, yet our hope, your scope
is broader than who can kill who and who got the biggest crew?
That's why black people cannot seem to break through
It's like crabs in a pot when one crab reaches the top
other crabs wish to pull down and blood (BLOODS)
I'm not understandin what's all the fuss
Hip-hop belongs to all of us
The East created it, the West decorated it
Learn the lesson, the unified picture is black expression
When black expression heights itself
it becomes black digression leadin to depression in health
Now question these ideas today
If hip-hop was destroyed could we blame the CIA
or the FBI, you'd be a motherfuckin lie-
-er, li-are, pants on fire-er
Conspiracy theories are contrise or we keep them on the shelf
We got no one to blame but ourselves
So....
[Chorus]
We must move ahead (x8)
All beef is dead!
In KRS-One's song "Move Ahead," the rapper talks about the state of hip-hop and how it needs to evolve to the next level. In the intro, he shouts out to some of the iconic DJs of the golden era of hip-hop, such as Tony Touch, Kid Capri, and DJ Kenny Coffin. In the first verse, KRS-One criticizes the lack of skills and originality in contemporary rappers who have no brain, no skill, or game, and who sell out for commercial success. He compares them to an "ass-troid" and psychoanalyzes their mental state like Sigmund Freud. In the chorus, he says that hip hop beef should be dead, and it's time for everyone to move ahead.
In the second verse, KRS-One talks about the influence of the pimp and player culture in the government and society, and how it leads to destruction and death. He makes a distinction between being a player and being a philosopher and encourages people to think beyond their immediate gratification. In the third verse, KRS-One addresses the issue of the lack of unity among black people in hip hop and how it holds them back. He says that hip-hop belongs to everyone, but black expression is essential to its development. He questions the conspiracy theories blaming the CIA or the FBI for destroying hip hop and suggests that the real culprit is ourselves.
Line by Line Meaning
Real skills, Bronx styles, Cypress Ave meets Cypress Hill
KRS-One introduces himself with pride in his skills and roots, bridging the gap between his hometown and legendary hip-hop group Cypress Hill.
You know what's up, SHRAP!
KRS-One encourages the audience to pay attention with emphasis and energy.
commissioner Gordon rock on
Tony Touch why'all rock on
Kid Capri yeah rock on
DJ Kenny Coffin yo rock on
KRS-One shouts out several hip-hop DJs with respect and appreciation.
In 199-sess, KRS is in his peak-in
You are weak-in and collapse like Mike, collect the beacon
KRS-One asserts his peak in 1990s hip-hop while challenging weak competitors who fail like Mike Tyson, with KRS-One acting as a beacon of light leading the way.
You talk more ish than a cellullar
You can't last, just call me Enema
'cause I give that ass-troid, heaven and mergatroid
I'm that six, umm, microphone-holdin humanoid
Pyschological like Sigmund Freud
But I get annoyed 'cause these rappers have no brain
These hardcore rappers crack me up like cocaine
They got no skill or game
They sellin that commercial let me say it
"Ask for Minoxadil with Rogaine"
True skills I will explain
The teacher breaks this whole shit down plain
KRS-One uses clever wordplay and metaphors to criticize rappers who lack substance, skill, and originality while emphasizing his expertise and role as a teacher.
West Coast beef must dead, no-ho-ho
East Coast beef must dead, no-ho-ho
Time for us to move ahead, no-ho-ho
be-boy hip-hop is dead, no
We must move ahead (x8)
KRS-One calls for an end to regional hip-hop rivalries and the outdated b-boy aesthetic, urging the genre to evolve and progress.
People always say when they see us, teach us
so we move by the inch, teachin only some of it, believe us
Hustlas and players and hos will never leave us
They been around since Mary Magdalene and Jesus
Run wit it, pimps and players run the government
We been raised on a tonne of it that's why we're lovin it
Bein a player is cool when you a kid
until you get sent up for a eight year bid
Now you use and abuse and serve like hell
til one day you are found face down upon the ground
two shots to the dome, we need to switch quick
Dyin over what you players, I think, call a bitch
I'm not a player hater 'cause I hate no one
but when you start destroyin hip-hop, you gots ta go, son
Government attack one who's brainwashed
Government attack two who is, yes, brain rinsed
Government attack three is for you and me
to constantly dream about the Lex with bulletproof tints
It's pointless to think I'm knockin ya
If you a pimp, be a pimp, I'll be a philosopher
So the....
KRS-One highlights the dangers and pitfalls of a pimp and player lifestyle, while criticizing government control and manipulation, emphasizing his position as a philosopher and advocate for hip-hop integrity.
why-yes are the intelligent, we descend on every establishment
In the East or West, microphone grabbin it
Chess-to-chess, lyrical confrontation is dope
for the hip-hop nation, yet our hope, your scope
is broader than who can kill who and who got the biggest crew?
That's why black people cannot seem to break through
It's like crabs in a pot when one crab reaches the top
other crabs wish to pull down and blood (BLOODS)
I'm not understandin what's all the fuss
Hip-hop belongs to all of us
The East created it, the West decorated it
Learn the lesson, the unified picture is black expression
When black expression heights itself
it becomes black digression leadin to depression in health
Now question these ideas today
If hip-hop was destroyed could we blame the CIA
or the FBI, you'd be a motherfuckin lie-
-er, li-are, pants on fire-er
Conspiracy theories are contrise or we keep them on the shelf
We got no one to blame but ourselves
So....
KRS-One discusses the importance of intelligence and unity in hip-hop culture, addressing the negative effects of crab mentality and the appropriation of black expression while questioning the role of government agencies and conspiracy theories in hip-hop's struggles, ultimately urging accountability and self-reflection.
We must move ahead (x8)
All beef is dead!
KRS-One reiterates his call for progression and end to beef, emphasizing the need to move forward for the sake of hip-hop's survival and growth.
Lyrics © Universal Music Publishing Group
Written by: LARRY MUGGERUD, LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind
@christopherjones7379
This whole album is mad dope start to finish. One of the best albums to come out of the 90's without a doubt!
@bryanmayes9234
Word
@isaacbanda4218
.
Looks
@estebanvonmatterhorn5448
You're so right, Home
@joseluiserrazurizzuniga8809
Together with prince Paul prince among thieves
@opus4rv
This is probably one of the best Hiphop albums... ever! Every track on this is FIRE! If you love Hiphop, you should get this album.
@danielmiller1401
This is why KRS is the greatest MC of all time!!!
@davidmunsell333
❤❤❤❤❤10/19/23! I STILL GOT MY CD! THIS ONE! KRS ONE! , DJ MUGGZ, THIS WHOLE ALBUM I LOVE IT! SUPERDOPE!❤
@HipHopDetective
This is great. Production is of the utmost. The snare keeps changing throughout, that's gives it a very unique feel.
@martinschmit7319
Im almost 45 i can always remember when this came out. I picked up this album. Great memories. Its now 2023 bring back some these great true Hip-hop. 👐