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..."
The Bridge Is Over
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I say the bridge is over the bridge is over biddy bye bye!
The bridge is over the bridge is over hey hey!
The bridge is over the bridge is over biddy bye bye!
The bridge is over the bridge is over
Verse One:
You see me come in any dance wid de spliff of sensei
Down with the sound called BDP
Ya can't sound like Shan or the one Marley
Because Shan and Marley Marl dem-a-rhymin like they gay
Pickin up the mic, mon, dem don't know what to say
Sayin that hip-hop started out in Queensbridge
Sayin lies like that, mon, you know dem can't live
So I, tell them again, me come to tell them again, gwan!
Tell them again, me come to tell them agaaain
Tell them again, me come to tell them again, gwan!
Tell them again, me come to te-ell them
Manhattan keeps on makin it, Brooklyn keeps on takin it
Bronx keeps creatin it, and Queens keeps on fakin it
Verse Two:
Di-di di-da, di di-di, dida di-day, aiy!
All you sucka MC, won't you please come out to play, cause
Here's an example of KRS-One, bo!
Here's an example of KRS-One
They wish to battle BDP, but they cannot
They must be on the dick of who? DJ Scott LaRock
Cause, we don't complain nor do we play the game of favors
Boogie Down Productions comes in three different flavors
Pick any dick for the flavor that you savor
Mr. Magic might wish to come and try to save ya
But instead of helpin ya out he wants the same thing I gave ya
I finally figured it out, Magic mouth is used for suckin
Roxanne Shante is only good for steady fuckin
MC Shan and Marley Marl is really only bluffin
Like Doug E. Fresh said "I tell you now, you ain't nuthin"
Compared to Red Alert on KISS and Boogie Down Productions
So easy now man, I me say easy now mon
To KRS-One you know dem can't understand
Me movin over there and then me movin over here
This name of this routine is called Live At Union Square
Square, square, square, ooooooooooooooooooooooo
What's the matter with your MC, Marley Marl?
Don't know you know that he's out of touch
What's the matter with your DJ, MC Shan?
On the wheels of steel Marlon sucks
You'd better change what comes out your speaker
You're better off talkin bout your wack Puma sneaker
Cause Bronx created hip-hop, Queens will only get dropped
You're still tellin lies to me
Everybody's talkin bout the Juice Crew funny
But you're still tellin lies to me
KRS-One's song The Bridge Is Over is a diss track aimed at MC Shan and Marley Marl, who were prominent figures in the Juice Crew, a group of artists associated with Queensbridge. The song is widely considered one of the best diss tracks ever made, due to its clever rhymes and stinging insults.
The chorus "The bridge is over, the bridge is over, biddy bye bye" is a reference to the Queensboro Bridge, which connects Queens to Manhattan. KRS-One is essentially saying that the Juice Crew, who were based in Queens, are no longer relevant and that their time has passed.
Verse one is KRS-One's attack on MC Shan and Marley Marl for claiming that hip-hop started in Queensbridge. KRS-One counters this by saying that the Bronx is the true birthplace of hip-hop and that Queensbridge is "faking it." He also takes shots at MC Shan and Marley Marl's rapping skills, accusing them of "rhyming like they gay" and not being able to come up with original lyrics.
In verse two, KRS-One continues to insult MC Shan and Marley Marl, as well as the rest of the Juice Crew. He accuses them of being unable to compete with Boogie Down Productions (BDP) and being reliant on DJ Scott La Rock. He also calls out Roxanne Shante and Mr. Magic, two other Juice Crew members, before returning to his argument that Queensbridge is not the home of hip-hop.
Line by Line Meaning
I say the bridge is over the bridge is over biddy bye bye!
KRS-One declares the end of the MC Shan and Marley Marl-led Queensbridge era in hip-hop, using a Jamaicanism to emphasize its finality.
The bridge is over the bridge is over hey hey!
KRS-One repeats his claim with even more vigor and conveys that those who cling to the past or try to challenge him are in for a rude surprise.
You see me come in any dance wid de spliff of sensei
KRS-One enters any dance (a reference to the sound system culture where rappers would compete) with confidence, carrying a joint of high-quality marijuana.
Down with the sound called BDP
KRS-One is part of the influential and highly respected Boogie Down Productions hip-hop group and is fiercely loyal to it.
If you want to join the crew well you must see me
To become part of Boogie Down Productions, KRS-One must personally vet you and assess whether you have the talent and character to contribute positively to the group.
Ya can't sound like Shan or the one Marley
KRS-One declares that imitating the styles of MC Shan or Marley Marl, two prominent Queensbridge rappers and producers, is futile if you seek his approval.
Because Shan and Marley Marl dem-a-rhymin like they gay
KRS-One dismisses the rhyming skills of MC Shan and Marley Marl as subpar and lacking in masculinity.
Pickin up the mic, mon, dem don't know what to say
KRS-One ridicules MC Shan and Marley Marl's lyrical content, suggesting that they struggle to come up with fresh or meaningful lines.
Sayin that hip-hop started out in Queensbridge
KRS-One calls out MC Shan and others for claiming that hip-hop originated solely in their neighborhood, disputing the commonly accepted view that it emerged from multiple sources across New York City.
Sayin lies like that, mon, you know dem can't live
KRS-One asserts that MC Shan and his followers are promoting falsehoods that cannot be sustained, thus undermining their credibility.
So I, tell them again, me come to tell them again, gwan!
KRS-One reiterates his message that he is here to set the record straight and challenge those who dare to question his authority.
Manhattan keeps on makin it, Brooklyn keeps on takin it
KRS-One highlights the importance of Manhattan and Brooklyn, two boroughs that have contributed greatly to hip-hop music and culture, contrasting them with Queens, which he believes is not living up to its hype.
Bronx keeps creatin it, and Queens keeps on fakin it
KRS-One suggests that while the Bronx remains a fertile ground for new hip-hop sounds and talents, Queens is merely trying to copy or piggyback off others' innovations.
All you sucka MC, won't you please come out to play, cause
KRS-One invites all aspiring rappers to compete with him, implying that they will inevitably lose.
Here's an example of KRS-One, bo!
KRS-One introduces himself as the standard of excellence in rap, confident that his skills and reputation will intimidate his rivals.
They wish to battle BDP, but they cannot
KRS-One expresses disdain for those who seek to challenge Boogie Down Productions' supremacy, suggesting that their ambition exceeds their ability.
They must be on the dick of who? DJ Scott LaRock
KRS-One mocks those who he believes are trying to get his producer, DJ Scott LaRock, to side with them or support their music, casting aspersions on their motives.
Cause, we don't complain nor do we play the game of favors
KRS-One values integrity and independence, affirming that he and Boogie Down Productions do not engage in petty rivalries or politics to gain an advantage.
Boogie Down Productions comes in three different flavors
KRS-One touts the versatility and diversity of Boogie Down Productions, suggesting that the group has various styles and voices to appeal to different listeners.
Pick any dick for the flavor that you savor
KRS-One playfully suggests that listeners should choose their favorite Boogie Down Productions member based on their sexual preferences or tastes, indicating that the group has something for everyone.
Mr. Magic might wish to come and try to save ya
KRS-One alludes to Mr. Magic, a legendary DJ and radio host who promoted several Queensbridge rappers, implying that he or his acolytes may try to rescue MC Shan, but to no avail.
But instead of helpin ya out he wants the same thing I gave ya
KRS-One suggests that Mr. Magic is selfish and seeks to benefit from the same things that KRS-One has provided for MC Shan, without contributing to their creation.
I finally figured it out, Magic mouth is used for suckin
KRS-One insults Mr. Magic, calling him a disingenuous flatterer who likely engages in immoral or unethical behavior.
Roxanne Shante is only good for steady fuckin
KRS-One denigrates Roxanne Shante, a female rapper from Queensbridge who had criticized Boogie Down Productions, by reducing her to a sexual object.
MC Shan and Marley Marl is really only bluffin
KRS-One characterizes MC Shan and Marley Marl as frauds who are pretending to be more skilled or important than they really are.
Like Doug E. Fresh said "I tell you now, you ain't nuthin"
KRS-One quotes Doug E. Fresh, an acclaimed rapper, to emphasize his point that MC Shan and Marley Marl are not worthy of recognition or respect.
Compared to Red Alert on KISS and Boogie Down Productions
KRS-One draws a distinction between authentic hip-hop (represented by him and Boogie Down Productions) and commercial or superficial hip-hop (represented by radio DJ Red Alert).
So easy now man, I me say easy now mon
KRS-One urges listeners to relax and take it easy, using a Jamaicanism to add flair to his speech.
To KRS-One you know dem can't understand
KRS-One claims that his art and message are beyond the comprehension of those who lack the insight or background to appreciate them.
Me movin over there and then me movin over here
KRS-One describes his ability to switch positions or shift his focus with ease, suggesting that he is adaptable and unpredictable.
This name of this routine is called Live At Union Square
KRS-One announces the title of his performance or show, which is taking place in Union Square, a well-known public space in Manhattan that was a frequent site of hip-hop concerts and demonstrations at the time.
Square, square, square, ooooooooooooooooooooooo
KRS-One repeats the word "Square" and adds a prolonged and dramatic vocalization to build up excitement or anticipation.
What's the matter with your MC, Marley Marl?
KRS-One taunts Marley Marl, challenging his credentials and suggesting that he is deficient as a rapper or producer.
Don't know you know that he's out of touch
KRS-One derides Marley Marl's lack of awareness or acumen, implying that he cannot keep up with the changing trends or preferences of hip-hop fans.
What's the matter with your DJ, MC Shan?
KRS-One questions MC Shan's loyalty and feasibility, implying that he is not up to the task of representing Queensbridge properly.
On the wheels of steel Marlon sucks
KRS-One criticizes Marley Marl's DJ skills, claiming that he is not adept at manipulating records or controlling the crowd.
You'd better change what comes out your speaker
KRS-One advises MC Shan and his collaborators to alter their words or tunes if they want to have any chance of impressing him or the public.
You're better off talkin bout your wack Puma sneaker
KRS-One insults MC Shan and suggests that he should focus on mundane or trivial matters like his footwear rather than pretending to be a hip-hop authority.
Cause Bronx created hip-hop, Queens will only get dropped
KRS-One asserts Bronx's primacy in the history of hip-hop, implying that Queens should pay its respects and not try to challenge it.
You're still tellin lies to me
KRS-One accuses MC Shan and Marley Marl of propagating falsehoods or myths about hip-hop's origins or development, contradicting his own version of events.
Everybody's talkin bout the Juice Crew funny
KRS-One references the Juice Crew, a Queensbridge-based collective of rappers and producers that was seen as a rival to Boogie Down Productions, suggesting that they are a joke.
But you're still tellin lies to me
KRS-One reiterates his claim that the Juice Crew and others are making false claims about hip-hop that he cannot tolerate.
Contributed by Cooper O. Suggest a correction in the comments below.
@lion-orichie398
Just to clear things up ... I’m an old person & I grew up East Elmhurst, Queens, N.Y.... And this song was actually bumping out of every drug-dealer’s car, back in the days... It’s TRUE HIP-HOP 👍
@El.Compa.De.NY.
No
@canibus9962
No
@MrBigtodd
I’m from Newark NJ and that’s true all the hustlers had this thumping out of their cars
@leanna9587
😂😂😂 Music to work by!
@santwanrutland7293
Facts
@Godliiest
2023 and this shit still smacks... Legendary!!
@knucklegame5050
SLAPS Not Smacks
@iamthewalruscuckookachoo1372
@@knucklegame5050 He's right lmfao. Smacks is absolutely correct wtf bro ?
@MADNEWYORKER914
Word!!!