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..."
Over 30
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
Where my people that's over 20 now?
Where my people that's over 40 now?
Classic, that's what they call us now
It's your teacher, welcome to my classroom
Who's he, what's that? Yo you better ask soon
It's the K to the are to the S One
By now I think it's real, I'm the best one
Yes son, I take it to the old school
I spit super rhymes 'cause I am so cool
A duel? You must be fool
Player you know the rules
I take it to the old school quick
Get Fresh Crew, Doug E. Fresh
'The Adventures of Slick Rick'
It gets so sick 'cause I ain't no joke
This song goes out to grown folk like Tone Loc
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
I'm 'Smooth' like Big Daddy Kane, no bull
Check out 'My Melody' I'm 'Paid in Full'
Before 'The Chronic' I was Stetsasonic
Old school, true school, oh yes sir, I'm it
1985 bumpin' Mantronix
1995 gettin' slammed with Onyx
2005 doin' shows with comics
2015 we still gon' rock shh
With dough, 'dro my flow in the pocket
I'm already 40 some say I need to stop it
Call me when it's time to really hip hop it
I'm true school, if you wasn't there don't knock it
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
Every year I get newer, this goes out to the future
Just like Slick Rick the Ruler, KRS a true schooler
You wanna be down man when I'm layin' it down man
Place all packed I'm bringin' the heat with soundman
c'mon lay it down man, movin' the crowd man
Television viewin' is down man
Radio listenin' is down man, you can't say
You was doin' it better than we was around man
We was down for the Rage and we was Against the Machine
Now we turned the page and we the mainstream
Servin' the same fiends but are we on the same team
That was prophesied in Dr. King's dream?
No matter how things seem I stay with the original plan
Teachin' our children original man
And who's the 'Criminal' clan?
My '86 lyrics then you hear it helped you build and expand
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
Where my people that's over 20 now?
Where my people that's over 30 now?
Where my people that's over 40 now?
Classic, that's what they call us now
In KRS-One's song "Over 30," the legendary rapper calls out to his audience in various age demographics, challenging them to get their hands up and acknowledging that they are now considered to be "classic." He describes himself as a teacher, welcoming the listeners to his classroom, and makes references to old school hip hop artists and songs, including The Fresh Crew, Doug E. Fresh, and "The Adventures of Slick Rick." KRS-One also notes that, despite his age, he continues to create new music and stay relevant in the industry.
The song highlights the importance of preserving and respecting the history of hip hop, acknowledging those who came before and paved the way for future generations. KRS-One also emphasizes the need to continue educating the youth on the original principles and values of hip hop, particularly in a time when commercialization and mainstream success can lead to a watering down of the art form.
Overall, "Over 30" serves as a powerful tribute to the longevity and continued influence of hip hop and its pioneers, while also encouraging listeners to keep the culture alive and thriving for years to come.
Line by Line Meaning
Get your hands up
Encouraging the audience to show excitement and support
Where my people that's over 20 now?
Asking for those individuals who are older than 20 to show themselves
Where my people that's over 30 now?
Asking for those individuals who are older than 30 to show themselves
Where my people that's over 40 now?
Asking for those individuals who are older than 40 to show themselves
Classic, that's what they call us now
People of this age group are referred to as 'classic' or having a timeless quality
It's your teacher, welcome to my classroom
As the artist, KRS-One is taking on the role of a teacher, welcoming people to learn from him through his music
Who's he, what's that? Yo you better ask soon
Challenging the audience to question and learn about new experiences and knowledge
It's the K to the are to the S One
The artist is introducing himself with his name
By now I think it's real, I'm the best one
Confidently proclaiming himself as the best in his field
Yes son, I take it to the old school
The artist is taking his music back to an older, traditional style
I spit super rhymes 'cause I am so cool
Explaining his skill and ease with which he can rap
A duel? You must be fool
Rejecting an opponent's challenge to a rap battle
Player you know the rules
Referencing the common regulations and customs of rap battles
I take it to the old school quick
Continuing with his repeated statement of performing in an older style
Get Fresh Crew, Doug E. Fresh
Referencing other artists who were big in the old school style
'The Adventures of Slick Rick'
Referencing a popular album from an old school artist
It gets so sick 'cause I ain't no joke
The artist is proud of his skill and performance ability
This song goes out to grown folk like Tone Loc
This music is aimed at and appreciated by a mature audience
1985 bumpin' Mantronix
Referencing a popular old school artist from the year of 1985
1995 gettin' slammed with Onyx
Referencing a popular rap group that was big in 1995
2005 doin' shows with comics
The artist is explaining how his performance style has changed with time
2015 we still gon' rock shh
Even in the present year, the artist's music is still appreciated and enjoyed
With dough, 'dro my flow in the pocket
The artist is describing his style of spending money and keeping his performance flow consistent
I'm already 40 some say I need to stop it
Acknowledging the criticism he's received for continuing to perform despite his age
Call me when it's time to really hip hop it
Arguing that he is still true to the authentic hip hop style
I'm true school, if you wasn't there don't knock it
The artist is sticking to his traditional style of rap and not compromising for a newer audience
Every year I get newer, this goes out to the future
Despite his age, the artist is still creating new music and leaving a legacy for future generations
Just like Slick Rick the Ruler, KRS a true schooler
Comparing himself to another well-known artist and emphasizing his dedication to traditional styles of rap
You wanna be down man when I'm layin' it down man
Encouraging people to appreciate and support his music
Place all packed I'm bringin' the heat with soundman
Describing how his music is very popular and draws in huge crowds
c'mon lay it down man, movin' the crowd man
Encouraging the audience to participate in his show and be engaged by his music
Television viewin' is down man
Noticing a decline in television viewership as people turn more to music as a source of entertainment
Radio listenin' is down man, you can't say
Noticing a decline in radio listenership as people turn more to music streaming services
You was doin' it better than we was around man
Emphasizing his own skill and talent in comparison to other artists
We was down for the Rage and we was Against the Machine
Referencing his involvement with particular bands and music movements
Now we turned the page and we the mainstream
Explaining how his music has become more mainstream with time
Servin' the same fiends but are we on the same team
Questioning if his goals and values are in alignment with other popular artists
That was prophesied in Dr. King's dream?
Asking if the fight for racial equality, as emphasized by Martin Luther King Jr., is still present in contemporary music
No matter how things seem I stay with the original plan
Regardless of how his music is received or how the industry changes, the artist maintains his original style and values
Teachin' our children original man
Maintaining a focus on teaching and preserving traditional hip hop styles and values for newer generations
And who's the 'Criminal' clan?
Asking who the real criminals are in the music industry or in society at large
My '86 lyrics then you hear it helped you build and expand
Referencing his lyrics from 1986, which aided in the growth and expansion of the hip hop music scene
Lyrics © Universal Music Publishing Group
Written by: LAWRENCE KRSONE PARKER, MARL MARLEY
Lyrics Licensed & Provided by LyricFind