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..."
You Gon Go?
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'm bringing back the style that others have pushed to the rear
Now you see me, now you don't, now I'm everywhere
Maybe you can see that knowledge does reign supreme
Rap is like a ballclub and I coach the team
Move the crowd, that's what MC mean
How many albums I got? Mmmm...12, 13
I've told y'all before
Them jokers need to stop, be hip-hop
I mastered this and him, her, they, them, that one
she and he did not
I speak a lot
I hit 'em in they weakest spot
Come see me rock, yo, you'll leave in shock
KRS, you ever wonder why he's so hot?
It's because he's not pop yo, he's hip-hop
West to East the sound of the police will rock
If you don't love this you won't have the heat I got
Disciplined if you listening the beats (?)
Fuck the dumb shit yo, we gotta teach the tots
They say I preach a lot
And last year the took the jeep and shot
But this year the beat will knock
[Hook x2: KRS-One]
I know where
We can go
To see how a real MC flow
No video
No radio
Just a live show
c'mon now you gon' go?
[Verse 2: KRS-One]
I'm still standing, demanding playing my lex jammin'
Cats want to really see me start blam-blammin'
Put away the cannon for this overstandin'
I'm landin'
Let the music play like Shannon
I'm so hot, why not, I bring all the fans in
Watch me now come alive like Peter Frampton
Listen to me people, listen to me loud and clear
It's time I found out what type of people up in here
When I shout out the classic if you know it say yeah
South Bronx-Yeah!
My Philosophy-Yeah!
Black Cop-Yeah!
You Must Learn-Yeah!
Yeah we gonna do it up in here
I'm still standin'
And rappers be mad-mad
Cause they know they'll give birth like the American
flag in Baghdad
All they do is blab-blab, that head chatter
Why the dopest MC always a dead rapper?
I'm a real live rapper, I'm out to set it
I pay dues, while your crews still on credit
You talk that shit till I come out the school
And all y'all sound like Trina sayin' "That's Cool"
Time for the streets again
Time for them cats to pop gats into the mic you speakin' in
I'm creepin' in with a hundred soldiers
When I step on the stage it's over
[Hook x2]
[Verse 3: KRS-One]
They don't play me a lot
KRS you don't see a lot
On TV a lot, but I do MC a lot
I don't duck and hide when I see the cops
I'm free with the knowledge to free the block
Live on the radio I'm sendin' my rhyme, you can see
I'm behind enemy lines
You already heard about plenty of crime
Now hear about the sciences that could really open ya mind
I only got a little bit of time to rhyme before the
producer over here says "Ok, that's fine"
So let's get to it, I got my whole squad with me
On top'a all that I got God with me
You can go far with me
From New York, to Atlanta, to LA
You know they all with me
You might not see me on this station cause this is a
Rapcity and KRS leads a Hip-Hop nation
Even though y'all chase ends
Why can't weeeeee be friends, it all depends
Cats want to thug it out
Isn't it true that Hip-Hop was bigger when we all loved it out?
Look at the difference in raps
See when I'm spittin' the facts
Louder than anyone could rap, the industry collapse
No one's special anymore
Variety is gone for sure
[Hook x2]
In KRS-One's song "You Gon Go," he raps about his longevity in the hip-hop game, his impact on the culture, and the importance of live performances. In the first verse, he asserts that he is bringing back a style that has been pushed aside, yet he is still everywhere. He compares hip-hop to a ballclub and positions himself as the coach of the team. He emphasizes the significance of moving the crowd, which is what an MC is supposed to do. KRS-One's lyrical prowess is evident as he proclaims that he has twelve or thirteen albums out and that he has mastered hip-hop, unlike others who merely do it. He also mentions that he is not popular, but he is hip-hop, which is why he is hot. Throughout the song, KRS-One challenges the idea that hip-hop has become too focused on images and materialism and insists that the culture needs to return to its roots.
In the second verse, KRS-One maintains his assertive tone as he talks about still standing and demanding attention for his music. He suggests that other rappers want to see him start incorporating violent imagery and boasting their material possessions into his lyrics to remain relevant, but he refuses to do so. He asserts himself as a real live rapper paying his dues, whereas others are still on credit. KRS-One also addresses current racial tensions by questioning why the dopest MCs are dead rappers instead of alive ones. He emphasizes that he is a real MC and is out to set the standard for the culture. Towards the end of the song, he emphasizes the importance of live performances and real talent, condemning the industry's collapse due to the lack of variety and the focus on materialism.
Line by Line Meaning
I'm bringing back the style that others have pushed to the rear
I am reviving a style that has been ignored by others
Now you see me, now you don't, now I'm everywhere
I have a very popular and ubiquitous presence in the music industry
Maybe you can see that knowledge does reign supreme
Perhaps you can understand that knowledge is the most important element
Rap is like a ballclub and I coach the team
Rap is a group effort and I am the coach who leads the team
Move the crowd, that's what MC mean
The role of the MC is to entice and energize the crowd
How many albums I got? Mmmm...12, 13
I have a large number of albums
You are not just doin' hip-hop, you are hip-hop
You are not simply performing a genre of music, you are embodying the culture and lifestyle associated with hip-hop
Them jokers need to stop, be hip-hop
Those who do not understand hip-hop need to stop and learn to embody the culture
I mastered this and him, her, they, them, that one
she and he did not
I have perfected my craft, while others have not
I hit 'em in they weakest spot
I target their vulnerabilities and deliver powerful messages
Come see me rock, yo, you'll leave in shock
You will be amazed by my performance
KRS, you ever wonder why he's so hot?
It's because he's not pop yo, he's hip-hop
KRS-One's success is due to his dedication to hip-hop culture, rather than conforming to popular music trends
If you don't love this you won't have the heat I got
If you do not love the hip-hop culture, you will not appreciate the passion and intensity I bring to my music
Disciplined if you listening the beats (?)
If you listen carefully, you can discern the discipline and dedication in my beats
They say I preach a lot
And last year the took the jeep and shot
But this year the beat will knock
I am known for my inspirational messages and activism, but I will also deliver powerful music this year
I know where
We can go
To see how a real MC flow
No video
No radio
Just a live show
c'mon now you gon' go?
I know a place where you can witness a true MC in action, without the distractions of video or radio. Will you come with me?
I'm still standing, demanding playing my lex jammin'
I am still standing strong, commanding attention and rocking my Lexus
Cats want to really see me start blam-blammin'
Some people want to see me resort to violence
Put away the cannon for this overstandin'
I'm landin'
I have grown to understand the importance of nonviolence and peace
Let the music play like Shannon
I'm so hot, why not, I bring all the fans in
Watch me now come alive like Peter Frampton
My music draws fans in and energizes the crowd just like Shannon and Peter Frampton's music did
Listen to me people, listen to me loud and clear
It's time I found out what type of people up in here
I want to connect with my audience and understand who they are
When I shout out the classic if you know it say yeah
South Bronx-Yeah!
My Philosophy-Yeah!
Black Cop-Yeah!
You Must Learn-Yeah!
Yeah we gonna do it up in here
I am acknowledging and celebrating classic hip-hop songs that resonate with the audience
And rappers be mad-mad
Cause they know they'll give birth like the American
flag in Baghdad
Other rappers are jealous of my success and know they can't match it
All they do is blab-blab, that head chatter
Why the dopest MC always a dead rapper?
Other rappers only talk and boast, while the most talented MCs often die young
I'm a real live rapper, I'm out to set it
I pay dues, while your crews still on credit
You talk that shit till I come out the school
And all y'all sound like Trina sayin' "That's Cool"
I am a genuine rapper who has paid my dues through hard work and dedication, while other rappers only talk and sound like imitators
Time for the streets again
Time for them cats to pop gats into the mic you speakin' in
I'm creepin' in with a hundred soldiers
When I step on the stage it's over
It is time for true rap music to return to the streets, and I am prepared to bring a large crew to protect and support me on stage
KRS you don't see a lot
On TV a lot, but I do MC a lot
I don't duck and hide when I see the cops
I'm free with the knowledge to free the block
I may not be on TV frequently, but I am very active as an MC and not afraid to stand up to the police. I have important knowledge to share to improve our communities
Live on the radio I'm sendin' my rhyme, you can see
I'm behind enemy lines
You already heard about plenty of crime
Now hear about the sciences that could really open ya mind
Through radio broadcasts, I am able to share my message of hope and knowledge, even though there may be opposition. Instead of just hearing about crime, let's explore the sciences that could truly enlighten us
I only got a little bit of time to rhyme before the
producer over here says "Ok, that's fine"
So let's get to it, I got my whole squad with me
On top'a all that I got God with me
I have limited time to perform, but I am ready to go with my entire team and faith in God
You might not see me on this station cause this is a
Rapcity and KRS leads a Hip-Hop nation
Even though y'all chase ends
Why can't weeeeee be friends, it all depends
Cats want to thug it out
Isn't it true that Hip-Hop was bigger when we all loved it out?
You may not see me on certain stations because I represent a different vision of hip-hop culture. But instead of competing and fighting, why can't we be friends and focus on building a strong and united hip-hop community? We used to have a greater sense of brotherhood in hip-hop, before it became about making money.
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Noel
Bumping in 2021 and beyond!
Diego Padilla
still pumping in 2016 from 562 california real hiphop
Mecca
This is Jawn is so 🔥🔥🔥🔥especially when it makes you make that ugly face when are Bobbing your head to the beat!!! 🔥🔥🔥🔥🔥👏🏾👏🏾👏🏾👏🏾🔥🔥🔥🔥🔥🔥🔥🔥🔥👏🏾🔥🔥🔥👏🏾👏🏾🔥🔥🔥🔥🔥
wm young
This is Hot.
George Nicholson
Hit 'em in THEY weakest spot...#neckbonerules
Patrick Dawson
I’m not on tv a lot but I do Mc a lot”