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 donāt 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 canāt 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
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Where there's no one left (buku, buku, alla de massive)
But the very best (klaka, bo bo, BDP crew, bo bo bo bo)
No MC can test (but one, one, one)
Step into a world, where hip-hop is me
Where MC's and DJ's
Build up their skills as they play every day
For the rapture
Yes, yes y'all, ya don't stop, KRS-One, rock on
Yes, yes y'all, ya don't stop, KRS-One, rock on
I'm 'bout to hit you with 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'
Cop some breakdancin', boogie poppin', and lockin'
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 'bout 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, uh, 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 fiends
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
Step into a world
Where there's no one left (alla de massive)
But the very best
No MC can test (but one, one, one)
Step into a world, where hip-hop is me
Where MC's and DJ's
Build up their skills as they play every day
For the rapture
Yeah, yeah
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 and good
Tight and good, come is it tight and good
Old styles I pass dat, slow down on fast rap
All in yo' ass crack, cocaine? Don't pass that
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 the 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
Step into a world
Where there's no one left
But the very best
No MC can test (one, one, one)
Step into a world, where hip-hop is me
Where MC's and DJ's
Build up their skills as they play every day
For the rapture
In the song Step Into A World, KRS-One sings about a world where only the best MC's and DJ's exist, and no one can test their skills. He emphasizes the importance of pure skills and talent and not relying on marketing schemes or record deals to make a great MC. He also touches upon the glory days of hip-hop with breakdancing, boogie popping, and locking, bringing back the traditional style of hip-hop. The song is a love letter to the art of hip-hop and the respect it deserves.
Line by Line Meaning
Step into a world (llaka klaka, klaka klaka)
Come experience a world of hip-hop energy and excitement
Where there's no one left (buku, buku, alla de massive)
This world is a place where only the truest, most dedicated hip-hop fans remain
But the very best (klaka, bo bo, BDP crew, bo bo bo bo)
These fans also happen to be the most skilled and passionate hip-hop artists and fans out there, and they are the stars of this world
No MC can test (but one, one, one)
There may be one rare talent who can offer a challenge, but typically, the MCs in this world stand head-and-shoulders above the competition
Step into a world, where hip-hop is me
This is a place where hip-hop is everything, and embodied in the artist known as KRS-One
Where MC's and DJ's
The heart and soul of this world are the MCs and DJs, whose skills and talents set the stage
Build up their skills as they play every day
These artists are always working to improve their craft, pushing themselves harder every day to reach new levels of excellence
For the rapture
All of these efforts are in preparation for the big event, where the best of the best will battle it out for ultimate hip-hop glory
I'm 'bout to hit you with that traditional style of cold rockin'
KRS-One is about to start rapping in his classic, powerful style
Givin' options for head knockin' non stoppin'
His rhymes are filled with opportunities to nod your head and get lost in the beat, without any break in the action
Tip-toppin' lyrics we droppin' but styles can be forgotten
The rhymes are clever and delivered expertly, but the styles of the day can be fleeting
So we bring back the raw hip-hoppin'
KRS-One is bringing back the classic, raw style of hip-hop that built the genre in the first place
Just like the records and tapes you be coppin'
He's taking it back to the days when people bought records and tapes and listened with rapt attention
Cop some breakdancin', boogie poppin', and lockin'
The tracks are perfect for some classic breakdancing moves like the boogie pop and lock
Tic tockin', guaranteed to have you clockin'
The music will have you dancing and tapping your feet, every second accounted for
We only get better and only better we have gotten
KRS-One and other hip-hop artists like him have only become more skilled and creative over time, and continue to improve every day
This type of flow don't even think about stoppin'
Once KRS-One gets rolling, he won't stop rhyming until he's said everything he needs to say
Beware, the length of the rhyme flow can be shockin'
Listeners should be prepared for a long, impressive flow from KRS-One
All music lovers in the place right now
Everyone in the room should be paying attention to what's happening, because it's going to be amazing
That never understood the way that KRS got down
Some people may not have understood KRS-One's style before, but now is their chance to learn
Yo, I'm strictly 'bout skills and dope lyrical coastin'
KRS-One is all about impressing people with his incredible talent and amazing lyrics
Relying on talent, not marketing and promotion
KRS-One doesn't need flashy marketing campaigns or promotions, because his talent speaks for itself
If a dope lyrical flow is a must
If you're looking for great rhymes and lyrics that really stand out, then you need look no further than KRS-One
You gots to go with a name you can quickly trust
KRS-One has proven himself to be a dependable and talented hip-hop artist, so listeners can feel confident in his skills
I'm not sayin' I'm number one, uh, I'm sorry, I lied
He was trying to be humble, but KRS-One knows that he really is the best
I'm number one, two, three, four and five
He is truly the top hip-hop artist, with skills that even outstrip the competition by a wide margin
Stop wastin' your money on marketing schemes
Hip-hop fans should stop buying into flashy marketing and hype, and instead focus on the real talent behind the music
And pretty packages pushin' dreams to the fiends
These flashy campaigns are designed to appeal to people's desires and aspirations, but ultimately fall short of reality
A dope MC is a dope MC
There's no substitute for true talent, and KRS-One is the perfect example of this
With or without a record deal, all can see
KRS-One's talent is so impressive that he doesn't even need a record deal to be successful
And that's who KRS be, son
This is the kind of artist KRS-One is, and he is proud to be known for his amazing skills
I'm not the run of mill, 'cause for the mill I don't run
KRS-One is not just another run-of-the-mill hip-hop artist, because he doesn't care about money or fame
Everybody on the mic in the party sound alike
Hip-hop music is saturated with copycats and imitators, all trying to emulate the same style of rhyming
Until I recite, in black and white what's right
Only when KRS-One starts rhyming in his true, powerful style does it become clear what real hip-hop is all about
Let me take flight, my style is tight and good
KRS-One's rhymes are like a bird taking flight, soaring high above the competition
Tight and good, come is it tight and good
His rhymes are both tight and good, and he challenges others to match his skill
Old styles I pass dat, slow down on fast rap
KRS-One believes in slowing down and taking the time to really perfect your rhymes, rather than relying on fast, cheap styles
All in yo' ass crack, cocaine? Don't pass that
He encourages people to focus on what's really important in life, and not to get bogged down by distractions and temptations
Conjure to ask dat, hyper type of flashback
He inspires a kind of nostalgia for the golden age of hip-hop, when the focus was on true talent rather than flash and showmanship
I publish like ASCAP lyrics for hand clap
KRS-One's rhymes are like a published book of poetry, designed to inspire and delight
No past rappin', youth trackin', talent lackin'
KRS-One is all about pushing the boundaries of what's possible in hip-hop, and doesn't waste time with outdated styles or young artists who lack true skill
Mc's more worried about their financial backin'
He believes that too many hip-hop artists are focused solely on making money, rather than perfecting their craft
Steady packin' a gat as if something's gonna happen
Hip-hop artists should be focused on creating great music, rather than worrying constantly about violence and conflict
But it doesn't, they wind up shootin' they cousin, they buggin'
All of this worry about violence and crime is often for nothing, and just leads to more problems and tragedies
I appear everywhere and nowhere at once
KRS-One is everywhere and nowhere, inspiring people with his rhymes and creativity but also uncontainable and always pushing forward
I know my style is bumpin', even though some people front
Despite what others may say or think, KRS-One knows that his style is amazing and inspiring, and always delivers quality rhymes
It's the god of rap, you heard of it
KRS-One is simply the best, and everyone who knows anything about hip-hop knows this
The one that rhymes toward the sky givin' airplanes mad turbulence
His rhymes are so powerful and energizing that they shake the very foundations of hip-hop, leaving the competition shaking in their boots
In rap tournaments, I reign permanent
KRS-One is the king of the hip-hop scene, always taking first prize in tournaments and competitions
Don't you think by now the number one spot I'm not concerned with it
At this point, KRS-One is so confident in his skills that he doesn't even think about competition or rankings
The course of rap I'm turnin' it
KRS-One is the guiding force behind the evolution of hip-hop, always pushing it in new and exciting directions
Back to that good old fashioned way of getting cash money by earning it
Rather than relying on shady deals, gimmicks, or promotions, KRS-One believes in earning his success through true talent and dedication
No bogus hocus pocus, I bring back the focus
There's no room for smoke and mirrors in the world of KRS-One, only hard work and real talent
Skills if you notice my position is lotus
KRS-One is like a lotus flower, always rising up and blooming beautifully in the world of hip-hop
Now quote this, MC's are just hopeless
KRS-One is somewhat dismissive of the competition, because they just can't hold a candle to his amazing skills
Thinkin' record sales make them the dopest
Other artists are too focused on popularity and album sales, rather than perfecting their craft and truly mastering the art of hip-hop
Lyrics Ā© MUSIC SALES CORPORATION, BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: Chris Stein, Deborah Harry, Harry Palmer, Jesse Williams, Lawrence Parker
Lyrics Licensed & Provided by LyricFind
@Julia-dr6kv
Iām 54 and WOW!! itās 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 donāt share any of it. It has all been an incredibly personal, political, and spiritual journey. I canāt and wonāt share this, my heart and soul, to dead shark eyes.
Feel so very honored (and VERY lucky) to have witnessed its beginnings and constant evolvementā¦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 whoāve 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 ā and so much MORE ā can also manage to create the most fire beats, funk, and deep soulfulness ā¦
*AND* to then imbue it all with a magical poetry? Beyond brilliant.
Just. Beyond.
Absolutely Ineffable.
Iām 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 shouldnāt have to learn that any womanās wise truths, notably from any woman of color, will only be heard if sheās 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.
šā¤ļøš„
@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& LaterĀ“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 didnĀ“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 dadĀ“s work car "smelling like electricity".
Been bumping KRS since siting in the barracks getting my uniform ready for Marine Corps Commanding GeneralĀ“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 2000Ā“s? a little advice, go on ahead and listen to his ENTIRE collection, not just 1 or 2 songs, donĀ“t look for quotables... oh youĀ“re gonna hear them... but donĀ“t just listen only for that.
DonĀ“t look for KRS verses anybody... just LISTEN... thatĀ“s it... listen.
DonĀ“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.
DonĀ“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 šÆ
@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 š„š„š„š„š„š„
@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 š
@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