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..."
Things Is About to Change
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Word up, the KRS style album comin' soon, KRS-One
All in the room, we gonna bounce these cats this year
Word up, why they do this? Ha, yo, yo
I climb up the back of rappers, reach over they head
And rap backwards at 'em, excuse me, madam
I used to throw these Uzi's at 'em
These clubs, I duly pack 'em
Potential lawyers, engineers and doctors, I do attract 'em
Go to your professors and ask 'em
If the songs of the edutainment in college
They didn't blast 'em
Yes, I'm that ancient one, I set the framework
For today's rappers to make they funds
But no, you don't know me son
My facial features matches the Sphinx with it's nose redone
You know how many clubs we done, rocked?
You know how many guns we done, popped?
You know how many funds we done, dropped?
You know how many ones we done, got?
We been gettin' live since the days of Chubb Rock
We know how to survive, these other cats
Be in at nine o'clock then be out at five, uhh
We doin' the overtime on stage, I over-rhyme
Makin' these whack rappers tow the line
Steppin' to me, I know you blind 'cause your whole flow
Your show, your style, you know it's all mine
The first time you learned to spit, it was either me
Kane, Rakim or Slick Rick
Welcome to the KRS style
This year I had to switch styles and bust off, two missiles
And that's not all, rappers have the gall
To pray and pray for my downfall but still in all
I have X amount of lyrics to get 'em all
Live at the club, I spit 'em all
Rappers backstage lookin' sad and pitiful
'Cause they know I'm the pinnacle and they minimal
I spit the metaphysical, the spiritual
The oracle, the lyrical, the oratorical
Rookie, I'll mop the floor wit you
I'm the lyrical foundation to all your flows
All your clothes, all your shows and I'm not alone
You wouldn't even know how to hold the mic or the phone
You couldn't even bite on the bone
While we was rockin' mic's out in Rome
Now you hyped 'cause you grown
You know we internationally known
The people love it, but what they learnin' 'bout
Is on the whole, look above it, but let us get back
To what we call hip-hop
Before you, whack rappers went, pop
In "Things Is About to Change," KRS-One addresses his longevity in the rap game and how he has influenced the current generation of rappers. He boasts about his skills as a teacher and his ability to influence young people to aspire to be lawyers, engineers, and doctors instead of resorting to violence and crime. While many rappers focus on gaining money and fame, KRS-One emphasizes the importance of knowledge and wisdom. He challenges other rappers to step up their game and recognize the roots of hip-hop culture. He acknowledges that he has been around for a long time, but he still has many more lyrics to spit and clubs to rock.
One interesting fact about this song is that it was released as a single in 2003, but it did not appear on any of KRS-One's albums until 2006's Life. Another fact is that the line "The first time you learned to spit, it was either me, Kane, Rakim, or Slick Rick" is a reference to the "four fathers" of golden age hip hop. KRS-One also mentions Chubb Rock, another prominent rapper of the era, in the song. Many of the lyrics in "Things Is About to Change" echo KRS-One's previous work, including his album Edutainment, which was released in the late 1980s. The song's title reflects KRS-One's belief that hip hop is constantly evolving and changing, and that he is always ready to embrace new styles and techniques.
Another interesting fact is that KRS-One is known for his freestyle abilities, and he often incorporates improvisation into his live performances. He has also been involved in activism and social justice movements throughout his career. KRS-One founded the Stop the Violence Movement in the late 1980s, which aimed to reduce violence in urban communities through music and education. He has also spoken out on various political issues over the years, including police brutality and government corruption.
As for the chords of the song, they are not available since "Things Is About to Change" is a rap song with no music accompaniment. However, the lyrics are spoken over a hip hop beat with samples and scratches in the background. The beat was produced by Domingo, a frequent collaborator of KRS-One's. The song's energetic rhythm and KRS-One's commanding delivery make it a classic of the genre.
Line by Line Meaning
Word up, it's just a little somethin' to tide you over
This is just a small preview of what's to come
Word up, the KRS style album comin' soon, KRS-One
The KRS-One style album is coming soon
All in the room, we gonna bounce these cats this year
We're going to take over the rap game this year
Word up, why they do this? Ha, yo, yo
Why do they act like this? (sarcastic)
I climb up the back of rappers, reach over they head
I'm better than other rappers and I often outshine them
And rap backwards at 'em, excuse me, madam
I often rap better than other rappers, via my talent and prowess
I used to throw these Uzi's at 'em
I used to be violent and aggressive in my earlier days as a rapper
But I'm a teacher, skills I truly have 'em
But now, I'm a teacher of the craft of rapping and have true skills in it
These clubs, I duly pack 'em
I have a following and can fill up clubs with fans
Potential lawyers, engineers and doctors, I do attract 'em
My music attracts intellectual people who are likely to become professionals
Go to your professors and ask 'em
If you don't believe me, ask your professors and they'll back me up
If the songs of the edutainment in college
Ask them if they played my songs, which are educational and entertaining at the same time
They didn't blast 'em
They didn't play them as much as they should have
Yes, I'm that ancient one, I set the framework
I'm one of the originators of hip-hop and set the rules for how it's done
For today's rappers to make they funds
Current rappers owe me credit for the foundation of the genre, which they use to make money
But no, you don't know me son
But they often forget about who I am and what I've done
My facial features matches the Sphinx with it's nose redone
I am an enigmatic figure in rap, with a mysterious look
You know how many clubs we done, rocked?
I've performed in many clubs and have rocked them all
You know how many guns we done, popped?
I've been in dangerous situations before and have used weapons to protect myself
You know how many funds we done, dropped?
I've spent a lot of money on making music and invested in myself as an artist over the years
You know how many ones we done, got?
I've made a lot of money in my career as a rapper and performer
We been gettin' live since the days of Chubb Rock
We've been performing and making music for a long time, since the days of Chubb Rock
We know how to survive, these other cats
We know how to survive and make it in the rap game, whereas other rappers don't
Be in at nine o'clock then be out at five, uhh
Other rappers don't put in as much work or effort as we do
We doin' the overtime on stage, I over-rhyme
We put in extra effort and time when performing on stage, and outshine other rappers with our rhymes
Makin' these whack rappers tow the line
We're making subpar rappers step up their game and perform better
Steppin' to me, I know you blind 'cause your whole flow
In comparison to me, other rappers are inferior and their style is inferior
Your show, your style, you know it's all mine
They often imitate my style and try to emulate me
The first time you learned to spit, it was either me
I was likely an influence or inspiration for many other rappers when they first started out
Kane, Rakim or Slick Rick
Or they may have been inspired by other legendary rappers such as Big Daddy Kane, Rakim or Slick Rick
Welcome to the KRS style
This is the style of rap that I helped to create and define
This year I had to switch styles and bust off, two missiles
I'm keeping up with the times and changing my style to stay relevant, and dropping two new songs to show what I'm capable of
And that's not all, rappers have the gall
And that's not all, other rappers have the nerve
To pray and pray for my downfall but still in all
To wish for my failure or decline as a rapper, but despite that
I have X amount of lyrics to get 'em all
I have a lot of lyrics and rhymes to take on any other rapper that comes my way
Live at the club, I spit 'em all
I perform live at clubs and showcase all of my rhymes and skills
Rappers backstage lookin' sad and pitiful
Other rappers look pathetic after performing, in comparison to my skills and talent
'Cause they know I'm the pinnacle and they minimal
They realize that I'm the best and they are lesser in comparison
I spit the metaphysical, the spiritual
My raps and rhymes often contain spiritual and philosophical messages
The oracle, the lyrical, the oratorical
I'm an expert when it comes to writing and performing rap music in various forms and styles
Rookie, I'll mop the floor wit you
If you're a new or inexperienced rapper, I'll easily outshine you and show you up
I'm the lyrical foundation to all your flows
Many other rappers owe credit to me for laying the foundation of the craft, which they use in their own music
All your clothes, all your shows and I'm not alone
Other rappers often try to copy my style, whether it be in their clothing, performances or style of rap
You wouldn't even know how to hold the mic or the phone
They don't even know the basics of rapping, such as how to handle the microphone or the art of communicating via phone
You couldn't even bite on the bone
They can't even try to copy or emulate my style, it's beyond their ability
While we was rockin' mic's out in Rome
While I was performing live and doing shows in Rome
Now you hyped 'cause you grown
Now you're excited about rap because you've grown older and gained more experience
You know we internationally known
We're well-known and popular all over the world
The people love it, but what they learnin' 'bout
People enjoy and appreciate our music, but they aren't always learning anything substantial or educational from it
Is on the whole, look above it, but let us get back
They should view it as entertainment and not try to analyze it too thoroughly, but let's get back to the main subject of hip-hop
To what we call hip-hop
Let's talk about the art of hip-hop in general
Before you, whack rappers went, pop
Before the current generation of rappers, other subpar and unskilled rappers gained mainstream popularity
Lyrics © Universal Music Publishing Group
Written by: LAWRENCE KRSONE PARKER
Lyrics Licensed & Provided by LyricFind