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..."
Problemz
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yeah, Inebriated Beats, big up Boston, the whole Boston
Edo.G what's up man? I got you
We gon' bounce this now, can I start? Can I start?
Here we go
[KRS-One]
I'm the newest and the truest MC on the mic
It ain't easy bein me, by day or night
But it's easy bein free to recite what you like
Hip-Hop is my inalienable right
When it comes to emceein KRS is a whole different type
Now go get it right, did I flow spit it tight
In a fight I was the type to go get a pipe
BINK! BINK! BINK! BINK! Movin 'em back
BINK! That's the sound of an aluminum bat
But it seems they new to these facts
Which means they new to the tracks
Which means they do hold us back
Too new to know all that but still runnin they trap
Do the math, radio gets a 20 record a week stream
But only three are ever seen
What happens to the other 17?
It's a PROBLEM.. PROBLEM..
PROBLEM IN HIP-HOP TODAY!
We gotta solve it
Too many players and not enough crime
When they finally wake up they woulda ran out of time
They can't see today how they effect tomorrow
Too afraid to follow, cause they trust is hollow
Because according to the laws they'll harp some sorrow
Yo, "Victory Over the Streets" - that's our motto
But if people ain't got no vision, that's a PROBLEM..
PROBLEM IN HIP-HOP TODAY!
We gotta solve it
People say, "Kris - why you teach so much?
Why you preach so much? Why you speak and such?
Why you so bent on reachin each of us?"
I reply - because you eatin with us
In the future our children will be meetin with us
Have a seat then with us and start speakin with us
They'll be critiquin us to be sure they believe in us
We don't need a PROBLEM..
PROBLEM IN HIP-HOP TODAY!
We gotta fix it
We live non-toxic, we teach that hip-hop is
the transformation of all subjects and objects
Retrain your optics, to reinterpret the topics
We gotta stop treatin hip-hop like a product
and more of a strategy; I got graphs, charts
sacred textbooks, these cats can't battle me
But they try, and why? Cause that's a PROBLEM..
PROBLEM IN HIP-HOP TODAY!
We gotta fix that
These cats need history to get with me
But hip-hop's history's a mystery
So how they gonna find out, trial and error
We can make one the example for all to get better
Inform, KRS is not the norm
I go from hot to warm to cold to hot
But hip-hop's history many forgot
And that's a PROBLEM..
PROBLEM IN HIP-HOP TODAY!
We gotta solve that
[interlude beat]
PROBLEM.. PROBLEM IN HIP-HOP TODAY!
We gotta fix that
In KRS-One's song "Problemz," the artist declares himself as the newest and truest MC on the mic. With over 500 songs to his credit, he sees himself as unique in the genre of hip-hop. The song's message is clear: there is a problem in hip-hop that needs to be addressed. The problem is the lack of knowledge of the history of hip-hop, which is holding back the genre. The artist believes that hip-hop is his inalienable right and is much more than just a product but a strategy that needs to be taught.
KRS-One points out that there are too many players and not enough time, and there is not enough crime to keep the players busy. He questions what will happen to the 17 songs that do not make it to radio while only three make it. He believes that if people have no vision, that is a problem in hip-hop today. The artist feels that people need to be educated about the history of hip-hop to move forward.
KRS-One sees himself as a teacher, trying to educate through his music. He wants to change the optics and reinterpret the topics of the hip-hop industry. He believes that hip-hop is not just a product and needs to be viewed and taught as a transformation of all subjects and objects. He points out that many have forgotten the history of hip-hop, and that is the real problem in hip-hop that needs to be solved.
Line by Line Meaning
I'm the newest and the truest MC on the mic
KRS-One believes he is the freshest and most authentic MC in the game
I wrote over 500 songs, pick what you like
KRS-One has a vast catalog of music and encourages listeners to explore it
It ain't easy bein me, by day or night
KRS-One acknowledges the challenges that come with being an MC constantly in the public eye
But it's easy bein free to recite what you like
Despite the challenges, KRS-One values the freedom of expression that comes with being a rapper
Hip-Hop is my inalienable right
KRS-One views hip-hop as something that is innate and an essential part of his identity
When it comes to emceein KRS is a whole different type
KRS-One sees himself as a unique and unparalleled MC
Now go get it right, did I flow spit it tight
KRS-One asserts his mastery of MCing and encourages listeners to recognize and respect his skill
In a fight I was the type to go get a pipe
KRS-One acknowledges that he is a product of a certain environment and was willing to defend himself physically if necessary
BINK! BINK! BINK! BINK! Movin 'em back
KRS-One describes the sound of hitting someone with an aluminum bat and suggests that he was able to intimidate others with violence
But it seems they new to these facts
KRS-One suggests that some people are not aware of the realities of the streets and the extent to which violence is a part of them
Which means they new to the tracks
KRS-One implies that some rappers are not in touch with the realities of hip-hop culture or truly understand its essence
Which means they do hold us back
KRS-One asserts that rappers who are disconnected from the culture are inhibiting its potential to evolve and reach its full potential
Too new to know all that but still runnin they trap
KRS-One suggests that some rappers are too inexperienced to understand the complexities and realities of hip-hop culture, yet still try to profit off of it
But only three are ever seen
KRS-One suggests that mainstream radio only plays a small fraction of the rap music that is created
It's a PROBLEM.. PROBLEM..
KRS-One acknowledges that there are problems in the industry and culture of hip-hop
Too many players and not enough crime
KRS-One suggests that the industry is oversaturated with people trying to profit off hip-hop rather than truly understanding and embodying its culture
They can't see today how they effect tomorrow
KRS-One asserts that the actions of people in the industry will have an impact on the legacy and future of hip-hop
Too afraid to follow, cause they trust is hollow
KRS-One suggests that many people in the industry are unwilling to take risks or push the boundaries because they lack authenticity
Because according to the laws they'll harp some sorrow
KRS-One suggests that people who lack authenticity and try to profit off the culture of hip-hop will ultimately face negative consequences
Yo, "Victory Over the Streets" - that's our motto
KRS-One references a slogan associated with hip-hop culture and asserts that he and his followers are committed to a certain approach and ethos when it comes to rap music
People say, "Kris - why you teach so much?
KRS-One acknowledges that some people are puzzled by his commitment to educating others about the history and culture of hip-hop
Why you preach so much? Why you speak and such?
KRS-One asserts that his role as a rapper goes beyond just creating music and includes sharing knowledge and wisdom with others
Why you so bent on reachin each of us?"
KRS-One sees his role as a rapper as one of outreach and education, and wants to reach as many people as possible
I reply - because you eatin with us
KRS-One suggests that he considers his listeners and the hip-hop community as a whole to be part of a larger movement with shared values and goals
We don't need a PROBLEM.. PROBLEM IN HIP-HOP TODAY!
KRS-One asserts that he wants to see the problems facing hip-hop solved and for the culture to reach its full potential
We live non-toxic, we teach that hip-hop is
KRS-One suggests that his approach to hip-hop is one that is positive and constructive, and seeks to rid the culture of toxic elements
the transformation of all subjects and objects
KRS-One sees hip-hop as a genre that has the power to transform and elevate all aspects of life and culture
Retrain your optics, to reinterpret the topics
KRS-One encourages listeners to approach hip-hop with an open mind and to reconsider their perceptions of the culture
We gotta stop treatin hip-hop like a product
KRS-One asserts that hip-hop is not merely a commodity to be bought and sold, but an essential part of a cultural movement and identity
and more of a strategy; I got graphs, charts
KRS-One approaches hip-hop as a strategic endeavor with clear goals and a plan for achieving them
sacred textbooks, these cats can't battle me
KRS-One suggests that he has a deep understanding of the history and culture of hip-hop and is well-equipped to educate and enlighten others
But they try, and why? Cause that's a PROBLEM..
KRS-One acknowledges that some rappers are resistant to learning and growing, and that this is a problem for hip-hop culture
These cats need history to get with me
KRS-One suggests that some rappers lack the historical perspective necessary to fully grasp the culture of hip-hop
But hip-hop's history's a mystery
KRS-One acknowledges that the history of hip-hop culture can be difficult to access or understand, despite its importance
So how they gonna find out, trial and error
KRS-One suggests that some rappers may need to learn about hip-hop through their own experiences and mistakes
We can make one the example for all to get better
KRS-One suggests that through education and the promotion of positive examples, the culture of hip-hop as a whole can improve
Inform, KRS is not the norm
KRS-One acknowledges that his approach to hip-hop is unique and not necessarily representative of the mainstream
I go from hot to warm to cold to hot
KRS-One suggests that his approach to hip-hop is diverse and varied, with different moods and styles
But hip-hop's history many forgot
KRS-One suggests that the history of hip-hop culture is often overlooked or forgotten, despite its importance
And that's a PROBLEM..
KRS-One asserts that lack of awareness and knowledge about hip-hop history is a problem for the culture as a whole
We gotta solve that
KRS-One is committed to addressing the problems facing hip-hop and improving the culture as a whole
Contributed by Elena R. Suggest a correction in the comments below.