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..."
Represent The Real Hip Hop
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
will understand
and appreciate what's about to happen
Das E.F.X., come in
Well it's the super duper rhymer rhymer I'm about to set it
Niggas best forget it let it be or you'll regret it D
So what it B, the D to the fuckin' P
I be's the ultimate, drop the ultra shit, fuck the other shit
Biggety buttah shit is how we comin' kid we runnin' shit
Now who you fuckin' with is Diggey Das E.F.X'n
We flexin', cause kid we got this rhyme and took effect y'all
Aye yo I figgety flow I rocket blow a nigga out the socket
Keep in mind to keep the dread, now they like my pocket, watch it
It's the rhyme fiend about a second from the crime scene
The boogie banger twisted off the lime green
Fuck a dime we, strictly fifty, the B.D.P. and Hit Squad committee
King of my city, ask my cousin Smitty, yo
Got to get the dough, got to blow the spot
Diggity Das K.R.S. East coast on lock
To corny niggas y'all get ate, my shit'll make you faint
So much platinum on my walls that I can hardly see the fuckin' paint
You think it ain't before a year and stopped recordin'
Now look we comin' back and runnin' shit like fuckin' Michael Jordan
Accordin', to my niggas in the sewer
Yo you a, corny nigga so we gots ta do ya
This for my niggaz on the block, handlin' rock like Kenny Anderson
I'm brandishin', stiggedy styles to keep M.C's vanishing
Scattering, fuck it, styles don't be mattering
My pattern's amazing son Blazing like a Saddle and
Battling's a no-no, got more Fame than Coco
I'm paid and still drips ya with a blade from my logo
So take your, style and Go-Go like D.C. niggas
Y'all know the haps we movin strapped on the East nigga
Yo, yo, well miggedy mayday, mayday, it's Crazy Drayz's payday
I riggedy wreck it eryday, kick shit like fuckin' Pele
But wait a, minute, cause we get in it for the masses
For classes, yo K.R.S. come get up in they asses
What, I say, follow me follow me
With my syllable syllable lyrical criminal
MC threats are minimal to my physical they just
Whittle and whittle away, with little and little to say
As they piddle and paddle away, they say OK
But I chop that ass up anyway
What's your handle I got mad MC heads upon a mantle
I got genuine M.C. skin sandals
I light the mic up like a candle, watch it melt
Cause when I felt lyrics you both are screamin' for help
When you hear it, you can't bear it, you can't even wear it
You oughts to just cheer it, go get it spirit
As I fa-la-la-la-la, I'm comin' with that rara
Rockin' mics when you was goo goo gaga to your momma
You wanted to battle K.R.S. when you was young you told your poppa
He slapped you in your head and said uh, uh
But you didn't heed the warning
Now I'm in the place, now I'm your face
Lookin' at your crew but they all broke out
because they nothin' but lace
K.R.S. is like mace, in your motherfuckin' face
Yo DJ Dice, tear down the place
In the song Represent The Real Hip Hop by KRS-One, the rapper is speaking to a particular audience, letting them know that only a few people will understand and appreciate what is about to happen. Diggey Das E.F.X. is introduced, and each member of the group presents their own unique rapping style. The lyrics are full of energy and confidence, with each rapper bragging about their talents and abilities. In particular, KRS-One talks about his past successes and how he is coming back to "run shit" once again. He also challenges other rappers to try and compete with him, claiming that he will easily defeat them.
The song represents a declaration of pride and excellence in the hip hop genre. It is a celebration of the unique talents and voices that can be found within the community, and a challenge to others to step up their game. The lyrics are delivered with intense passion and skill, and the overall effect is a powerful statement of what it means to be a real hip hop artist.
Line by Line Meaning
Only a few
Only a select few individuals have a deep enough understanding and appreciation for what's about to take place
will understand
Out of the small group of individuals referenced in the previous line, only some will be able to fully comprehend and appreciate the magnitude of what's to come
and appreciate what's about to happen
The event that will soon occur is highly valuable and appreciated by those with enough intellect to truly grasp it
Das EFX, come in!
Music duo Das EFX are welcomed into the song
Well it's the super duper rhymer rhymer I'm about to set it
The artist introducing themselves as a highly skilled rapper who is about to perform
Niggas best forget it let it be or you'll regret it D
The artist is warning other rappers not to compete with them, as they will lose and be humiliated
So what it B, the D to the fuckin' P
The artist presents their stage name and associated initials
(Yo it's me the lyricist they fear in this as you can see)
The artist refers to themselves as a lyricist that other rappers are afraid of
I be's the ultimate, drop the ultra shit, fuck the other shit
The artist boasts about being the best rapper, and only performing at the highest level
Biggety buttah shit is how we comin' kid we runnin' shit
The artist is the current leader of the hip-hop scene, and is here to stay
Now who you fuckin' with is Diggey Das E.F.X'n
The artist reiterates their rapper persona name and tribe (Diggey Das EFX'n)
We flexin', cause kid we got this rhyme and took effect y'all
The artist has mastered the art of rapping and is here to demonstrate their skills
Aye yo I figgety flow I rocket blow a nigga out the socket
The artist flexes their rapping skills, highlighting their fast and dynamic flow
Keep in mind to keep the dread, now they like my pocket, watch it
Those around the artist appreciate their dreadlocks and are keen to observe them
It's the rhyme fiend about a second from the crime scene
The artist is exceptional at rapping, to the point that their abilities can almost be considered criminal
The boogie banger twisted off the lime green
The artist is able to create catchy, memorable beats and lyrics while under the influence of drugs (lime green)
Fuck a dime we, strictly fifty, the B.D.P. and Hit Squad committee
The artist is not interested in small amounts of money (dime) and is only interested in earning significant sums through collaboration with successful hip-hop groups B.D.P. and Hit Squad committee
King of my city, ask my cousin Smitty, yo
The artist is very successful in their own city, and can verify this through their cousin, Smitty
Got to get the dough, got to blow the spot
The artist is focused on earning money and making an impact in the hip-hop scene
Diggity Das K.R.S. East coast on lock
The artist again references their rapper persona and their influence over the East coast hip-hop scene
To corny niggas y'all get ate, my shit'll make you faint
The artist's music is very powerful, and can negatively affect those who are not skilled enough in the rap genre
So much platinum on my walls that I can hardly see the fuckin' paint
The artist is very successful, with many platinum records indicating the scale of their achievements
You think it ain't before a year and stopped recordin'
The artist is referring to a time when they were inactive in the rap scene, possibly due to other commitments or a lack of inspiration
Now look we comin' back and runnin' shit like fuckin' Michael Jordan
The artist has returned to music and is once again dominating the hip-hop scene like Michael Jordan dominated in basketball
Accordin', to my niggas in the sewer
The artist's friends in similar positions confirm their influence and success in the underground rap scene
Yo you a, corny nigga so we gots ta do ya
The artist implies that there are other rappers who lack the skills to compete, and therefore must be eliminated from the scene
This for my niggaz on the block, handlin' rock like Kenny Anderson
The artist dedicates this song to their friends on the block, some of whom sell drugs and may have taken inspiration from NBA player Kenny Anderson (who performed well under pressure)
I'm brandishin', stiggedy styles to keep M.C's vanishing
The artist uses unique, innovative styles of rapping to stay on top and make their competitors disappear
Scattering, fuck it, styles don't be mattering
The artist simply enjoys playing with different rapping styles, rather than worrying about what others think
My pattern's amazing son Blazing like a Saddle and
The artist is very talented and their rapping style is hot, like a blazing saddle
Battling's a no-no, got more Fame than Coco
The artist has gained so much success that engaging in rap battles would simply be a waste of time. They also reference their heightened level of fame compared to famed model, Coco Chanel
I'm paid and still drips ya with a blade from my logo
Despite being rich and successful, the artist is still able to fight enemies using their distinctive logo as a weapon
So take your, style and Go-Go like D.C. niggas
The artist dismisses other rappers' styles and suggests they should take their weak music elsewhere, alluding to the poor reputation of Go-Go music in D.C.
Y'all know the haps we movin strapped on the East nigga
Those who are aware of the artist's reputation understand that the East coast hip-hop scene is in their control, and they will defend this power at all costs
Yo, yo, well miggedy mayday, mayday, it's Crazy Drayz's payday
Crazy Drayz, another rapper, takes centre stage and signifies his payday is imminent
I riggedy wreck it eryday, kick shit like fuckin' Pele
Crazy Drayz boasts that he is always rapping with intensity, and compares himself to football star Pele who was famous for his powerful kicks
But wait a, minute, cause we get in it for the masses
As successful rappers, they create music for their fans rather than personal gain
For classes, yo K.R.S. come get up in they asses
The artist invites K.R.S. to participate in creating music that will engage their fans and further enhance their reputation
What, I say, follow me follow me
The artist instructs their audience to pay attention and follow their lead
With my syllable syllable lyrical criminal
The artist highlights how they are able to combine syllables and lyrics like a criminal mastermind
MC threats are minimal to my physical they just
Other rappers are not a threat to the artist's physical well-being, but can only damage their reputation
Whittle and whittle away, with little and little to say
Other rappers' insults gradually diminish as they realise they are no match
As they piddle and paddle away, they say OK
Other rappers give up and resign themselves to defeat
But I chop that ass up anyway
The artist enjoys defeating their rivals, even when the competition is barely trying
What's your handle I got mad MC heads upon a mantle
The artist has defeated many MCs (rappers) and displays their trophies as a sign of victory
I got genuine M.C. skin sandals
The artist is not afraid to use their defeated competitors' skin as a decoration (in the form of sandal leather)
I light the mic up like a candle, watch it melt
The artist has such a powerful and engaging presence on stage that their performance is similar to the burning of a candle
Cause when I felt lyrics you both are screamin' for help
The artist's lyrics are so intense and effective that their rivals are left begging for mercy
When you hear it, you can't bear it, you can't even wear it
The artist's music is too powerful for listeners to handle, both physically (bear it/wear it) and mentally
You oughts to just cheer it, go get it spirit!
The artist urges their listeners to embrace and enjoy their music, with boundless energy and enthusiasm
As I fa-la-la-la-la, I'm comin' with that rara
The artist prepares to perform their music with enthusiasm, energy and intensity
Rockin' mics when you was goo goo gaga to your momma
The artist highlights that they were already very good at rapping while others still needed their mothers for support
You wanted to battle K.R.S. when you was young you told your poppa
The artist implies that others have long been impressed by their rapping skills and have always wanted to compete against them, even when they were too young
He slapped you in your head and said uh, uh
This is a warning from the artist's potential competitor's father that he is not ready to battle K.R.S.
But you didn't heed the warning
Other rappers have ignored the warnings of their fathers to not engage with K.R.S. in a battle
Now I'm in the place, now I'm your face
The artist has arrived on the scene and is ready to compete directly with their rivals
Lookin' at your crew but they all broke out because they nothin' but lace
Other rappers' crews have run away in fear because they realise they are not strong enough to beat K.R.S.
K.R.S. is like mace, in your motherfuckin' face
K.R.S. is the equivalent of pepper spray that causes considerable pain and strife to its victims
Yo DJ Dice, tear down the place!
The artist calls on DJ Dice to create a final explosive performance that will further establish their dominance and control of the hip-hop scene.
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Written by: Andre G Weston, Krs One, Show Biz, Willie D Hines
Lyrics Licensed & Provided by LyricFind
@Tahia_rt
Only a few
will understand
and appreciate what's about to happen
Das E.F.X., come in!
Well it's the super duper rhymer rhymer I'm about to set it
Niggas best forget it let it be or you'll regret it D
So what it B, the D to the fuckin' P
(Yo it's me the lyricist they fear in this as you can see)
I be's the ultimate, drop the ultra shit, fuck the other shit
Biggety buttah shit is how we comin' kid we runnin' shit
Now who you fuckin' with is Diggey Das E.F.X'n
We flexin', cause kid we got this rhyme and took effect y'all
Aye yo I figgety flow I rocket blow a nigga out the socket
Keep in mind to keep the dread, now they like my pocket, watch it
It's the rhyme fiend about a second from the crime scene
The boogie banger twisted off the lime green
Fuck a dime we, strictly fifty, the B.D.P. and Hit Squad committee
King of my city, ask my cousin Smitty, yo
Got to get the dough, got to blow the spot
Diggity Das K.R.S. East coast on lock
To corny niggas y'all get ate, my shit'll make you faint
So much platinum on my walls that I can hardly see the fuckin' paint
You think it ain't before a year and stopped recordin'
Now look we comin' back and runnin' shit like fuckin' Michael Jordan
Accordin', to my niggas in the sewer
Yo you a, corny nigga so we gots ta do ya
This for my niggaz on the block, handlin' rock like Kenny Anderson
I'm brandishin', stiggedy styles to keep M.C's vanishing
Scattering, fuck it, styles don't be mattering
My pattern's amazing son Blazing like a Saddle and
Battling's a no-no, got more Fame than Coco
I'm paid and still drips ya with a blade from my logo
So take your, style and Go-Go like D.C. niggas
Y'all know the haps we movin strapped on the East nigga
Yo, yo, well miggedy mayday, mayday, it's Crazy Drayz's payday
I riggedy wreck it eryday, kick shit like fuckin' Pele
But wait a, minute, cause we get in it for the masses
For classes, yo K.R.S. come get up in they asses
What, I say, follow me follow me
With my syllable syllable lyrical criminal
MC threats are minimal to my physical they just
Whittle and whittle away, with little and little to say
As they piddle and paddle away, they say OK
But I chop that ass up anyway
What's your handle I got mad MC heads upon a mantle
I got genuine M.C. skin sandals
I light the mic up like a candle, watch it melt
Cause when I felt lyrics you both are screamin' for help
When you hear it, you can't bear it, you can't even wear it
You oughts to just cheer it, go get it spirit!
As I fa-la-la-la-la, I'm comin' with that rara
Rockin' mics when you was goo goo gaga to your momma
You wanted to battle K.R.S. when you was young you told your poppa
He slapped you in your head and said uh, uh
But you didn't heed the warning
Now I'm in the place, now I'm your face
Lookin' at your crew but they all broke out
because they nothin' but lace
K.R.S. is like mace, in your motherfuckin' face
Yo DJ Dice, tear down the place!
@Kevin112681
25 years later and this shit still go hard 🔥🔥🔥
@DrJiles-gm8ks
Whole album is a CLASSIC.
@profetadelaverdadjhuertas1335
This is real hip hop
@youtubewatcher2006
one line of a das efx song could literally destroy every so called rapper on the radio.
Rep real hip hop! Never in no skinny jeans!
@johndrake2729
Krs killed it on this one.
@luismaldonado3317
This track brings back good times, good vibes..... the good ol days
@marcwa74
Back in the day when I used to look forward to next new hot shit and go to Tower records or even blockbusters to listen to music for hours.
@davidcobb3680
Kris said he got Genuine MC skin sandals.....lmao goes hard, MC's these days can't even think of something like that
@nativesun9865
Don't understand that line, someone please explain?
@mariusklovstad6028
@@nativesun9865 its a battle verse man. Straight fire disses