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..."
R.E.A.L.I.T.Y.
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Rhymes equal actual life, in the youth
I lived in a spot called millbrooke projects
The original criminal minded rap topic
With twenty cents in my pocket I saw the light
If you're young gifted and black, you got no rights
Your only true right, is a right to a fight
Everyone and everything is at war
Makin' my poetic expression hardcore
I ain't afraid to say it, and many can't get with it
At times in my life, I was a welfare recipient
I ate the free cheese, while the church said believe
And went to school everyday, like a god damn fool
Well anyway, here I am, chillin' at the party
Brothers lookin' at me like they want to kill somebody
A cypher manifested in the center of the jam
I got to show these wack rappers really who I am
It's me against them, so I clear the phlegm
And wage the war, hardcore to the end
For someone lookin' inside, yeah from the out
It seems like disrespect is what rap is all about
But hip-hop as a culture, is really what we give it
But sometimes the culture contradicts how we live it
Cause every black kid lives two and three lives
The city's a jungle, only the strong will survive
Reality, ain't always the truth
Rhymes equal actual life, in the youth
Reality, ain't always the truth
Rhymes equal actual life, in the youth
Every single day I hear lie after lie
Like "black people don't die, we multiply"
So when I kick a rhyme I represent how I feel
The sacred street art of keepin' it real
Why I gotta listen, to somebody else?
How they got wealth, let me talk about myself
But all I really got is hip-hop and a glock
The results are obvious, if I'm confined to my block
Occasionally, in the city I'm released
To meet other beasts, lookin' for the feast
We grunt and growl, on the prowl, as the air gets thinner
"yo yo there he go, him," there's the dinner
White meat, carryin' a bag of some sort
Life is short, white meat is quickly caught
A scuffle a muffle yet none of us hesitated
Like mother africa, white meat is violated
We quickly disappear, like santa's little elves
And go into a area to fight amongst ourselves
We say, "peace/piece" cause that's what we really want
A piece of the pie that america flaunts
Reality, ain't always the truth
Rhymes equal actual life, in the youth
Reality, ain't always the truth
Rhymes equal actual life, in the youth
The truth is that police must serve and protect
Reality is black youth is shown no respect
The truth is government has a war against drugs
Reality is government is ruled by thugs
With all this technology, above and under
Humanity still hunts down one another
Rappers display artistic cannibalism
Through lyricism, we fight each other over rhythm
Through basic animal instincts, we think
So the battle for mental territory is glory, end of story
Reality, ain't always the truth
Rhymes equal actual life, in the youth
Reality, ain't always the truth
Rhymes equal actual life, in the youth
Yeah
In KRS-One's song Why, he addresses the disconnect between reality and the truth, specifically in the context of black youth and hip-hop culture. He talks about his upbringing in the Millbrooke projects and the harsh realities he faced, including violence and poverty. KRS-One sees hip-hop as a way to keep it real and express himself, but acknowledges the contradiction in the culture when it glorifies violence and material wealth. He also critiques the government and police for their lack of respect and disrespect towards black youth, while also acknowledging the issues within the hip-hop community itself.
Throughout the song, KRS-One uses powerful imagery and metaphors to convey his message. He compares the city to a jungle, where only the strong survive, and rappers to animals fighting over territory. He also talks about the aggression and violence he sees in the hip-hop community, and the harm it causes. Overall, KRS-One's message in Why is to shed light on the harsh realities facing black youth and the contradictions in hip-hop culture.
Line by Line Meaning
Reality, ain't always the truth
The world isn't always what it seems.
Rhymes equal actual life, in the youth
For young people, the words they hear in music can shape their lives.
I lived in a spot called millbrooke projects
I grew up in a low-income housing complex named Millbrooke Projects.
The original criminal minded rap topic
The first rap songs talked about crime and violence.
With twenty cents in my pocket I saw the light
Even with very little money, I saw the potential in myself.
If you're young gifted and black, you got no rights
In some places, being black and talented doesn't mean you have the same opportunities as others.
Your only true right, is a right to a fight
Sometimes all you can do is stand up for yourself, even if the fight isn't fair.
And not a fair fight, I wake up wonderin' who died last night
In my neighborhood, violent conflicts happen often and without warning.
Everyone and everything is at war
In the area where I grew up, there is constant conflict and danger.
Makin' my poetic expression hardcore
I use strong language and imagery to express the hardship of my surroundings.
I ain't afraid to say it, and many can't get with it
I'm willing to tell the truth even if it makes people uncomfortable.
At times in my life, I was a welfare recipient
For a period of my life, I relied on government assistance to get by.
I ate the free cheese, while the church said believe
I received government-provided cheese while simultaneously being encouraged to believe in a higher power by the church.
And went to school everyday, like a god damn fool
I went to school every day, even though the odds seemed stacked against me.
Well anyway, here I am, chillin' at the party
Despite my challenging upbringing, I'm now at a social gathering.
Brothers lookin' at me like they want to kill somebody
Other men at the party are sizing me up in a threatening way.
A cypher manifested in the center of the jam
A group of rappers began freestyling in a circle on the dance floor.
I got to show these wack rappers really who I am
I have the opportunity to show off my skills to rappers who are not as talented.
It's me against them, so I clear the phlegm
In the freestyle battle, I assert my dominance by clearing my throat.
And wage the war, hardcore to the end
I continue to compete fiercely and aggressively, showing no weakness.
For someone lookin' inside, yeah from the out
To outsiders, the competitiveness of rapping seems disrespectful.
It seems like disrespect is what rap is all about
Those unfamiliar with rap may view it as a platform for disrespect and violence.
But hip-hop as a culture, is really what we give it
The true meaning and purpose of hip-hop comes from the individuals who participate in the culture.
But sometimes the culture contradicts how we live it
The ideals of hip-hop aren't always upheld in the daily lives of those who practice it.
Cause every black kid lives two and three lives
Growing up black in certain areas often means having to adapt to different situations and environments.
The city's a jungle, only the strong will survive
Urban environments can be dangerous and competitive.
Every single day I hear lie after lie
Falsehoods are common and ever-present in society.
Like "black people don't die, we multiply"
A repeated untruth is that black people reproduce at a faster rate than other groups.
So when I kick a rhyme I represent how I feel
I express my true self through my music and lyrics.
The sacred street art of keepin' it real
Honesty and authenticity are highly valued in rap culture.
Why I gotta listen, to somebody else?
Why should I have to listen to others when I have my own experiences to share?
How they got wealth, let me talk about myself
Rather than focus on others' wealth and success, I want to tell my own story.
But all I really got is hip-hop and a glock
Rap music and my own personal strength are my main assets.
The results are obvious, if I'm confined to my block
If I stay in my own neighborhood, my potential and future are limited.
Occasionally, in the city I'm released
Sometimes I am able to leave my neighborhood and explore the city.
To meet other beasts, lookin' for the feast
I seek out others who are as hungry and determined to succeed as I am.
We grunt and growl, on the prowl, as the air gets thinner
We become more intense and competitive as obstacles to success grow greater.
"yo yo there he go, him," there's the dinner
We identify our competition and prepare to perform better than them.
White meat, carryin' a bag of some sort
Our competition is often white and carrying something desirable.
Life is short, white meat is quickly caught
In the competitive world of rap, success must be seized quickly and forcefully.
A scuffle a muffle yet none of us hesitated
We are willing to fight each other for success, even if it means physical violence.
Like mother africa, white meat is violated
Like colonial powers in Africa, we take from those who have more than us.
We quickly disappear, like santa's little elves
After taking what we want, we move on and disappear from that area.
And go into a area to fight amongst ourselves
We turn on each other, even after competing against outsiders.
We say, "peace/piece" cause that's what we really want
Despite the aggression and violence, we ultimately want peace and success.
A piece of the pie that america flaunts
We want our share of the wealth and success that America promotes.
The truth is that police must serve and protect
The purpose of police is to keep people safe and uphold the law.
Reality is black youth is shown no respect
In reality, black youths are often ignored or mistreated by law enforcement.
The truth is government has a war against drugs
The government is committed to fighting the use and sale of illegal drugs.
Reality is government is ruled by thugs
In reality, those with the most power in government are not always working in the best interest of the people.
With all this technology, above and under
Despite advances in technology, society still struggles with many issues and conflicts.
Humanity still hunts down one another
People are still violent and competitive with each other, even in modern times.
Rappers display artistic cannibalism
In rap battles, artists metaphorically 'eat' their competition by outperforming them.
Through lyricism, we fight each other over rhythm
In rap battles, artists compete with each other by incorporating rhythm, rhyme, and language as a weapon.
Through basic animal instincts, we think
We often use instincts rather than rational thought when we compete with others.
So the battle for mental territory is glory, end of story
In the competitive world of rap, winning the battle for intellectual dominance is the ultimate goal.
Lyrics © Universal Music Publishing Group
Written by: LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind