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..."
Step Into A World Remix
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yes yes y'all, ya don't stop, krs-one, rock on!
I'm bout to hit you wit that traditional style of cold rockin
Givin' options for head knockin' non stoppin'
Tip-toppin' lyrics we droppin' but styles can be forgotten
So we bring back the raw hip-hoppin'
Just like the records and tapes you be coppin'
Tic tockin', guaranteed to have you clockin
We only get better and only better we have gotten
This type of flow don't even think about stoppin'
Beware, the length of the rhyme flow can be shockin'
All music lovers in the place right now
That never understood the way that krs got down
Yo I'm strictly about skills and dope lyrical coastin'
Relying on talent, not marketing and promotion
If a dope lyrical flow is a must
You gots to go with a name you can quickly trust
I'm not sayin' I'm number one, uhh I'm sorry, I lied
I'm number one, two, three, four and five
Stop wastin' your money on marketing schemes
And pretty packages pushin dreams to the beams
A dope mc is a dope mc
With or without a record deal, all can see
And that's who krs be son
I'm not the run of mill, cause for the mill I don't run
Yes yes y'all, ya don't stop, krs-one, rock on!
Yes yes y'all, ya don't stop, krs-one, rock on!
Everybody on the mic in the party sound alike
Until I recite, in black and white what's right
Let me take flight, my style is tight an good
Tight an good, come is it tight an good
Old styles I pass dat, slow down on fast rap
All in yo' ass crack, old king go blast dat
Conjure to ask dat, hyper type of flashback
I publish like ascap lyrics for hand clap
No past rappin', youth trackin', talent lackin'
Mc's more worried about their financial backin'
Steady packin' a gat as if something's gonna happen
But it doesn't, they wind up shootin' they cousin, they buggin'
I appear everywhere and nowhere at once
I know my style is bumpin', even though some people front
It's the god of rap, you heard of it
The one that rhymes toward the sky givin' airplanes mad turbulence
In rap tournaments, I reign permanent
Don't you think by now the number one spot I'm not concerned with it
The course of rap I'm turnin' it
Back to that good old fashioned way of getting cash money by earning it
No bogus hocus pocus, I bring back to focus
Skills if you notice my position is lotus
Now quote this, mc's are just hopeless
Thinkin' record sales make them the dopest
Yes yes y'all, ya don't stop, krs-one, rock on!
Yes yes y'all, ya don't stop, krs-one, rock on!
In "Rapture," KRS-One uses his traditional style of "cold rockin'" and drops "tip-toppin'" lyrics that will have fans head knockin' without stopping. He talks about how styles can be forgotten, so he wants to bring back the raw hip-hop, breakdancing, boogie poppin', and lockin'. KRS-One emphasizes that he relies on talent, not marketing and promotion, and he doesn't believe in wasting money on marketing schemes and pretty packages pushing dreams to the beams. A dope MC is a dope MC, with or without a record deal, all can see, and KRS-One gets better with time. He describes his flow as something that should not be stopped, and sometimes the length of his rhyme flow can be shocking. KRS-One lets fans know that he's not the typical run of the mill rapper, and for him, it's all about skills and dope lyrical coastin'. He concludes the song by saying MC's should focus on earning cash money by honing their skills, not just hoping for record sales to make them the dopest.
Line by Line Meaning
I'm bout to hit you wit that traditional style of cold rockin
I'm going to use the old-fashioned style of rap that has a aggressive beat, punchy rhymes and lyrics that critique the current state of hip-hop.
Givin' options for head knockin' non stoppin'
My music offers a range of choices for people who want to dance, party and have a good time. We won't stop the music and we want to make sure that everyone has an enjoyable experience.
Tip-toppin' lyrics we droppin' but styles can be forgotten
While we're delivering high-quality lyrics, innovative styles are not always appreciated, and may be consigned to the scrapheap. That's why we're reverting to traditional styles to keep hip hop pure.
So we bring back the raw hip-hoppin'
We're going back to the roots of hip-hop and reviving the sort of music that started it all. We want to remind people of the true essence of rap music.
Just like the records and tapes you be coppin'
In earlier days, people bought records and tapes to listen to music. We're returning to that era of buying music as a physical object - something that you can actually hold.
Cop some breakdancin', boogie poppin', and lockin'
Not only are we recapturing the sound of hip-hop's origins, but we also want to bring back the dance styles that went with it - breakdancing, boogie popping and locking. It's about the entire culture of hip hop, not just music.
Tic tockin', guaranteed to have you clockin
With the beats we're producing, we’ll be keeping the crowd in time and rhyming to our music.
We only get better and only better we have gotten
Our music has only gotten smoother and better over time. We keep innovating and learning, but we also stick to what works.
This type of flow don't even think about stoppin'
Our music has too much momentum and emotion to be stopped. It's a powerful force that can't be contained.
Beware, the length of the rhyme flow can be shockin'
The length of my rhymes can be shocking and unexpected but that's because I want to surprise and delight my audience at all times.
All music lovers in the place right now
I'm addressing everyone in the room who enjoys music regardless of genre or taste.
That never understood the way that krs got down
This is a message for those who don't quite get my style, but I'm willing to educate and connect with them through my music.
Yo I'm strictly about skills and dope lyrical coastin'
I value and prioritize my lyrical skill and my music flows easily and smoothly.
Relying on talent, not marketing and promotion
I don't need gimmicks or clever marketing tactics to promote my music. All I need is my raw talent and the quality of the music will speak for itself.
If a dope lyrical flow is a must
For those who value high-quality rhymes and music, this is a must-have in their playlist.
You gots to go with a name you can quickly trust
People trust me and my music - they know I'm reliable and can deliver great rap without fail.
I'm not sayin' I'm number one, uhh I'm sorry, I lied
I know I'm number one and have no qualms about stating that with full confidence.
I'm number one, two, three, four and five
Placing me at the top of the list is not enough. I'm so good that I occupy the top five slots.
Stop wastin' your money on marketing schemes
This is a warning to those who fall for shiny promotional tactics aimed at selling them subpar music that isn't worth their money.
And pretty packages pushin dreams to the beams
Record labels create illusions to bring in customers, promising them the world, but in actuality selling them nothing real or authentic.
A dope mc is a dope mc
A talented and skilled rapper stands out in any era or style, it has nothing to do with the trends or gimmicks.
With or without a record deal, all can see
My talent and skills are not limited to whatever contract or agreement I happen to be holding. People can recognize my worth regardless of my involvement in the music industry.
And that's who krs be son
This is a quick reminder for those who don't already know that it's me, KRS-One, who is delivering this message.
I'm not the run of mill, cause for the mill I don't run
I'm not like every other rapper in the game who chooses to follow a certain path. I make my own way and am not restricted to any particular mold.
Everybody on the mic in the party sound alike
Many of the rappers in the industry lack originality and talent and their music ends up being too homogenous and indistinguishable from the next.
Until I recite, in black and white what's right
I'm bringing to the table a different approach to rap and music, a refreshing and new perspective that aims to enrich the genre and bring something new and exciting.
Let me take flight, my style is tight an good
My music has built up a great reputation for its quality and innovation, and that's exactly how my style of rap will continue to shine.
Tight an good, come is it tight an good
Highlighting again that my music is both tight and good - something that's rare to come by in the current state of hip-hop.
Old styles I pass dat, slow down on fast rap
I'm trying to break the cycle of repetition and mimicry in hip hop and focus on creating new styles and approaches to music.
All in yo' ass crack, old king go blast dat
I shape my music to stand alone, taking influence from the past but working with new sounds and styles to make it my own.
Conjure to ask dat, hyper type of flashback
Even when using older styles and sounds in the production I bring a new, fresh take and push creative boundaries, taking listeners to places that are both nostalgic yet fresh and new.
I publish like ascap lyrics for hand clap
I hold my own in terms of lyrics and production, and put out music worthy of being celebrated and applauded by my peers and the industry as a whole.
No past rappin', youth trackin', talent lackin'
Many rappers rely on past successes or trends to stay relevant, but lack the creativity and talent to create something entirely new and fresh.
Mc's more worried about their financial backin'
Many rappers are motivated by money or a desire for fame, resulting in cut-throat competition, music that lacks emotional depth, and an overall inauthentic sound.
Steady packin' a gat as if something's gonna happen
Many rappers rely on a violent, aggressive image to sell their music, promoting gun culture and perpetuating negative stereotypes surrounding black men.
But it doesn't, they wind up shootin' they cousin, they buggin'
The reality is that this type of image and behavior is harmful and can lead to tragic consequences, including violence among family members and friends.
I appear everywhere and nowhere at once
I'm a ubiquitous figure in the hip hop world, with a presence that is both everywhere yet elusive at the same time, as I continue to evolve and innovate.
I know my style is bumpin', even though some people front
I know my music is unique and high-quality, even if some people choose not to acknowledge my talent or style in the industry.
It's the god of rap, you heard of it
I am a leading figure in the hip-hop world, and widely considered the king of rap.
The one that rhymes toward the sky givin' airplanes mad turbulence
My powerful, dynamic rhymes and music creates an impact that can be felt all the way up to the skies, shaking the very foundations of the hip-hop world.
In rap tournaments, I reign permanent
In any competition or tournament, I'm a consistent winner with a proven track record of success in rap music.
Don't you think by now the number one spot I'm not concerned with it
I've already established my position at the top of the charts and I'm not worried about losing that spot or of those who might be vying for it.
The course of rap I'm turnin' it
My music and message is not only creative, but also powerful enough to redirect the course of rap music and steer it towards unique expression and positivity.
Back to that good old fashioned way of getting cash money by earning it
Rap music has taken a turn from authentic expression to money-grabbing and commercialization. My approach is to get back to the ways of earning money through hard work, talent and creativity.
No bogus hocus pocus, I bring back to focus
Many rappers use gimmicks, illusions and smoke-and-mirrors to hide the lack of quality in their music. I aim to bring it back to the basics by focusing on raw, authentic talent.
Skills if you notice my position is lotus
The lotus position is a metaphor for peacefulness, calmness, and centeredness - this is where I hold my position in the music industry.
Now quote this, mc's are just hopeless
I'm making a strong statement about the lack of quality and talent in the hip-hop industry - most rappers just don't have the chops or creativity that it takes to create music with substance and meaning.
Thinkin' record sales make them the dopest
Many rappers believe that the number of records sold signifies talent and quality, when in reality it's simply a marketing ploy or lucky strike, deception and manipulation.
Yes yes y'all, ya don't stop, krs-one, rock on!
This is a call to keep the music and energy alive, to push the boundaries of the genre, and to celebrate the talent and creativity that exists in hip-hop.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Christopher Stein, Deborah Harry, Dieter Weyn, Yves Van Geertsom
Lyrics Licensed & Provided by LyricFind
@Julia-dr6kv
I’m 54 and WOW!! it’s an impossible concept and profound feeling to explain how utterly life changing it was to be there and AWARE when Rap and Hip-Hop erupted.
More and more, I don’t share any of it. It has all been an incredibly personal, political, and spiritual journey. I can’t and won’t share this, my heart and soul, to dead shark eyes.
Feel so very honored (and VERY lucky) to have witnessed its beginnings and constant evolvement…i went to every live show I could get to if I could make it in a 6-7 hour drive.
This Music. Matters. Now more than ever.
Forever changed my life then, and it continues to, consistently.
ETERNALLY thankful to KRS-One, and all other artists of this genre who had/have unbelievably powerful stories to share in their music. The urgency. The truths.
That the artists who’ve had the undeniable courage to tell the tales (ones that MUST be heard), to convey the tragic disparities in this country, speak about the violence, relate the inhumanity of injustice and disenfranchisement, illuminate and deeply flawed and widely misunderstood system of incarceration — and so much MORE — can also manage to create the most fire beats, funk, and deep soulfulness …
*AND* to then imbue it all with a magical poetry? Beyond brilliant.
Just. Beyond.
Absolutely Ineffable.
I’m glad to see female artists fighting their way in, but we need more, soooo many more of their voices. Girls of color, all POC, but women especially, need to see powerful female artists and know better their undeniable strengths and deep worth.
(And they shouldn’t have to learn that any woman’s wise truths, notably from any woman of color, will only be heard if she’s nearly naked.)
Truthfully, we ALL need to hear those important stories women have to tell us, or the historical experiences male artists in Rap and Hip-Hop have paid a deadly price to tell, of so many tragic centuries, will remain undeniably incomplete.
Their time is past due by decades. Please let us do everything possible to change that however we can.
🙏❤️🔥
@Algorithm_work_your_magic
been bumping KRS since 1988 back when I had my old Walgreens headphones barely held together with electric tape, back when I could tell you which song is on the B-side of the cassette while listening to the A side, been bumping KRS since walking to school with the fake "pleather" Thriller jacket and S curl, and a book bag full of 40 Cent Now& Later´s in the book bag, and flipping them for a dollar a pack or 10 cents each.
Been rocking KRS since fronting by pressing the button on the Motorola beepers to make it look like somebody was calling you in class.
been rocking KRS since "Senior skip day" in 91 bumping "Edutainment" and I had the big ass speakers in the trunk but my amp didn´t have a good ground so I ended up using an old school 40 watt "BOOSTER" with the cable going straight to the fuse box and scorch marks around it had my dad´s work car "smelling like electricity".
Been bumping KRS since siting in the barracks getting my uniform ready for Marine Corps Commanding General´s inspection... now 30 years later, I am 49 years old STILL bumping KRS ENTIRE collection like it just came out while I am running up and down stairs all day at work IN FINLAND.
And to those of you younger folks that want to "compare KRS to anyone in the 2000´s? a little advice, go on ahead and listen to his ENTIRE collection, not just 1 or 2 songs, don´t look for quotables... oh you´re gonna hear them... but don´t just listen only for that.
Don´t look for KRS verses anybody... just LISTEN... that´s it... listen.
Don´t listen to him trying to compare who is "the greatest rapper of all time" because if you are doing that then you might as well just Google search "best rapper of all time" and whatever comes up first, tit will probably be whoever is the most popular rapper of the moment, whoever has the most Twitter followers this week.
To me, KRS IS Hip Hop... he has longevity, hits, lyrics for days, style, he was "conscious before that was even "a thing", his live albums? PLEASE, him staying close to Jamaican roots, graffiti artistry, B.boys / B girls, peace movements, putting unsigned artists on, close to his fans, him not just "squashing beefs and putting it behind him... but squashing beefs and making dope tracks together years later, KRS can hold his head up in any hood, any country, on any stage, doing world tours, generation after generation of fans.
Don´t look at me like I am just an old school "fanboy" actually I am a former LIVE dj/radio host, so hell yeah... I can rattle off 10 dope unsigned NEW young artists right now.
By the way.... The song "Rapture" by Blondie w lead singer Debbie Harry was THE first #1 single in the US to have a rap feature.... yup... a former punk rock band with a pretty girl doing lead vocals so they called them "new wave" not to confuse them with racist "Oy Punk" bands of the time.
So there you go... a partial history of the song "Rapture" now go on ahead and check out the song "Yuletide Throwdown" by Fab 5 Freddy and Blondie for a real surprise. thank me later
@Thatsdax
Relying on talent not marketing and promotion 💯
@MrSlowshin
ITS DAX who loves talking about how he was a janitor
@mmaccario
@@MrSlowshin xD
@desireerodriguez9303
I couldn't have said it better Dax
@ogquestone3992
Fax dax
@brucejones348
@@MrSlowshinl
@DJKeytronikzTV
When you hear a woman singing in a soft, angelic voice on a hard ass beat, you knew that it gonna be 🔥🔥🔥🔥🔥🔥
@joseureste8257
Check out the song it was sampled from , blondies the rapture. You will likely dig it
@evitacalor743
@@joseureste8257 Is a matter of taste but did you know Rapture was 1 of the first popsongs with a video with rap in it. And it was a white girl 😄
@kingofnara
@@evitacalor743 Blondie goated in the POP but KRS One hit her with the "yeah I sampled your voice you was using it wrong" cause he did it way better