KRS-One vs. PM Dawn (January 13, 1992)

On January 13, 1992, KRS-One responded to remarks P.M. Dawn’s Prince Be had made in an issue of Details magazine, where Be said “KRS-One wants to be a teacher, but a teacher of what?” by throwing him off stage at New York’s Sound Factory. Kid Capri spoke on the incident in a Rap Radar interview a few years ago saying, "I was standing right there at The Sound Factory... [KRS-One] walked in with a bunch of people that I’d never seen him with—a whole different crew. He had [Boogie Down Productions possé members] Willie D. and I.C.U. with him. He had those two [usual accomplices] with him... They sat on the windowsill [next to the stage]. It was a P.M. Dawn show [with] Super Cat.” Kid Capri continued, “So P.M. Dawn comes on stage… it was [Prince Be] and [DJ Minutemix] in the booth, and it’s three girls [doing background singing]…They let him do his first song. When the hit started, it was all bad, man. Yo, they rushed on the stage—Kris and the whole crew…Kris grabbed the mic from [Prince Be]. I.C.U. grabbed all the girls, hugged them and picked them up at the same time [and led them offstage]. When Kris grabbed the mic, Will’ hit [Prince Be], which threw him offstage... Kenny [Parker] went in the [DJ] booth, threw the DJ out the booth. When the Kris threw them offstage [DJ Kenny Parker] threw on ‘South Bronx.’ It felt like the floor was gonna cave in. What was crazy was, when Kris left, Super Cat was supposed to be next. [However] when Kris left, the whole crowd [left and was] walking down the street with him. It looked like a video! Super Cat was on stage with nobody [left]. It was monumental!” Props to AFH for the transcription. The video below further discusses the issue and that infamous night. Art by Andre LeRoy Davis for The Source Magazine's The Last Word. R.I.P., Prince Be of P.M. Dawn ('88-16).

PM Dawn not only came at KRS-One in that Details Magazine interview but also Public Enemy and N.W.A.. The exact quote is, "Public Enemy and people like that--they just make mountains out of molehills. KRS-One wants to be a teacher, but a teacher of what? N.W.A. just don't do anything at all." After the incident at The Sound Factory on Monday January 13, 1992, KRS-One spoke with USA Today on January 17, 1992, and admitted: "I let my temper get the better of me." Snippets from both interviews are below. UPDATE (2025): Unfortunately, the original video that I had included in this post was made "private," so I updated this with a related video about the incident featuring KRS-One, Dres from Black Sheep and more. Once again, Rest In Peace to Prince Be of PM Dawn. Enjoy.

J.Period "The Live Mixtape: Blastmaster Edition" (KRS-One Tribute)

J.PERIOD presents The Live Mixtape: Blastmaster Edition, a live DJ set paying tribute to one of Hip Hop's most iconic MCs: The Teacher, KRS-One. Recorded Live as part of Questlove's #GoDJ Series, this epic 60 minute episode of The Live Mixtape features KRS-One and Boogie Down Productions classics, hits, remixes and exclusives. You already know J.PERIOD has been consistently releasing some of the best tribute mix tapes, so there should be zero hesitation on clicking play immediately! If you did not catch last month's Verzuz battle between Big Daddy Kane and KRS-One, dig into the archives for that, and many other mixes from J.PERIOD. Listen to the Blastmaster Edition mix below...

Big Daddy Kane vs. KRS-One (Verzuz Battle, 10/17/21)

Last night, Big Daddy Kane and KRS-One took it to the stage for one of the most highly anticipated Verzuz battles! My timeline leading up to the battle suggested KRS-One was the favored MC, despite the fact that Big Daddy Kane is one of the greatest MCs and live performers in hip-hop history! Sure, on paper, KRS has the more extensive catalog of bigger records and more longevity that extended beyond the 80s and early 90s. However, we've learned through past battles that these battles sway back and forth throughout the night, and the more charismatic personality and performer can often snatch the crown. Ask Jadakiss... TWICE! So, off the paper and onto the stage it went, both MCs bringing their best material and sure, Kane ran out of records earlier, but the story didn't end there! Kane brought his stage presence, freestyles and swag to the forefront. Despite his DJ for the night, DJ Scratch, coming off as an asshole on multiple occasions, Kane and KRS kept it peace and both did their thing. I can see fans saying KRS was the winner before it even started, but once again, I say the artist with the most charisma took home the W, and last night it was Big Daddy Kane. The features were extensive on both artists' set, and to be perfectly honest, most of them overstepped the boundaries and stayed on stage WAY too long. It was another proud night for hip-hop, and I'm sure both will be on the road together and their booking fees just went all the way up! Who did you declare the winner last night? I don't think there's a wrong answer lol.

KRS-One "Return of the Boombap" (September 28, 1993)

The song "KRS-One attacks" starts off with this line: "We will be here forever, do you understand that? Forever and ever." And judging from his long list of career accomplishments, it is hard to dispute his claim. Like Coca-Cola Classic, you can always count on Kris to come out every year with a joint to make you go, "Oh shit!" Every year. Go ahead and count, yo. Every year. From Criminal Minded in '87 to Sex and Violence in '92, he has been about one thing--real hip-hop. But album number seven has a new approach. This is not a BDP album. It is a KRS-One solo album, which means that he can work with people outside his traditional BDP family. It was a good move on his part. This disc is a treat, not only does Kris rip it on the mic, but with DJ Premier, Kid Capri and Showbiz helping with the beats, his whole sound seems rejuvenated. Containing the same amount of tracks as the number of semesters he's been rocking albums, Return serves up instant gems. "Outta Here" is a flavorful and personal detailing of the trials and tribulations of the rap rat race. On "I Can't Get Up," our hero dreams that he's a blunt being passed around a host of dope MCs. And "Mad Crew," quite simply, is the latest entry in the long series of KRS freestyle winners. Cont'd below and listen...

Lyrically, KRS still dazzles--in both content and style--when his pen hits the paper. On "Sound Of Da Police" and "Higher Level," he offers the straight-forward conscious lyrics he is famous for. And for all of you rockers enthusiasts, he gives you a healthy dose of Caribbean flavor with "Uh-Oh" and "Brown Skin Women." All in all KRS-One keeps his end of the bargain and provides you with real hip-hop. And not only does Return showcase his commitment, but in light of last year's commercially disappointing Sex and Violence LP, it gives him a forum to ask what is probably the most serious question facing hip-hop today: "How many real hip-hoppers in the place right about now?" Think about it. - The Source (November, 1993). The production on this LP was dope, a near classic (to me). 

Boogie Down Productions "Sex And Violence" (February 25, 1992)

In 1987 Boogie Down Productions shocked the world with Criminal Minded, an album that was all street and no apology. In 1992, five albums later, BDP unveils the long-awaited sequel to that masterpiece--Sex And Violence. It is understood that KRS-One is rap's foremost teacher and social thinker, but we sometimes forget that he can rock the boulevard as hard as he rocks the seminar. This album is a return to the raw essence of the street.... With the production assistance of Prince Paul and Pal Joey, KRS has gone back to the basics and delivered a record that embodies the true spirit of the New York sound.... In a manner reminiscent of "The Bridge Is Over," KRS subjects the industry to a long overdue quality control session, and licks a shot for those "blabbering f#cking fools." Sex And Violence (like other BDP albums) is informative and challenging. This time Kris takes aim at sexual morality, religion, and hypocrisy and hits them dead on.... KRS leaves no stone unturned. The highlights are: "Who Are The Pimps," a perfect blend of hard core hip-hop and education; "KRS and Freddie Foxx," which features much freestyling over a fat repetitive bassline; "13 & Good," which is an R&B flavored cut that tells the story of statutory rape--with a twist, "Build & Destroy," which drops the science over a minimalist beat; and the rap/lecture, "The Real Holy Place," where KRS proves why he is the teacher. An extra bonus is the phat "Intromental," a medley of all of the classic BDP beats past and present. If sex and violence are what the people want, KRS has delivered, but it not overly gratuitous or sensationalist--the subjects of sex and violence are intelligently analyzed. With Sex And Violence, KRS goes back to the hardcore underground without abandoning his mission. I think it's a step in the right direction. - The Source (3/92). Listen up below...

You can save a full copy of the article in The Source below...

Boogie Down Productions "By All Means Necessary" (1988)

In it's 29th year, Boogie Down Productions' 'By All Means Necessary' has remained one of the most important albums in hip-hop history. From the death of Scott La Rock to a fundamental misunderstanding behind the messages in their debut, 'Criminal Minded,' KRS-One returned in 1988 to set the record straight handling both lyrics and production on 'By All Means Necessary.' From police corruption, violence, safe sex/AIDS, and heavy themes on government, KRS embodied the teacher he introduced on 'Criminal Minded,' and recreated the iconic photo of Malcolm X to make the image complete. Like many, it took me years (29 years if I'm keeping it a buck) to stop calling the album 'By Any Means Necessary.' With 'My Philosophy,' 'I'm Still #1,' 'Jimmy' and the whole 'Stop The Violence' movement, the social commentary and the minimalist production earned the album a spot on The Source's best 100 rap albums, 10 years after its release. In June of 2005, Vibe Magazine briefly revisited the project in the article above giving more details about the album artwork. And of course, the publicity photo of KRS wearing the BDP jacket and hat, which was sent out by Jive as promo for the album in '88. In 2010, KRS sat down with MTV to discuss the making of 'Criminal Minded,' and said: "After Scott was killed, I clarified the message with [the] Malcolm X [pose] on the [cover of BDP's 1988 album By All Means Necessary]. Trying to clarify, this is not about gangsterism, this is what revolutionaries look like. If you go back to the some of the revolutionary pictures of the Black Panthers, you'll see that same thing on Criminal Minded's album cover. It's just that over time, people didn't look at it for Black Panthers, they saw us in the hood with the gat and people started mimicking that, unfortunately." Read the full article here and more below...

Boogie Down Productions 'Criminal Minded' Turns 30!

30 Years! This one makes me feel old. I was a drop too young to cop the physical in '87, but the beef in Queens was well-known - 'The Bridge' vs 'The Bridge Is Over' took on a life of its own. I settled for a dub from my boy Eddie until '92 when I copped the 'Criminal Minded' cassette at Tower Records in The Village. By then, the album was a classic and I just needed it for my collection. A retrospective in Vibe was published in 9/04: "The gangsterisms of KRS-One and Scott La Rock's debut bust shots for all hard-core hip hop. From gunplay and crack addiction to STDs, KRS's gritty "South Bronx" tales over head-splitting beats infiltrated boom boxes across America, confirming that the BX was still number one." Now, it's 30 years old and KRS is STILL active as an artist and teacher for the culture. Back in 2008, Smirnoff brought KRS-One & DJ Premier together to make Criminal Minded '08 as part of their Smirnoff Series. It was released on vinyl along with Common & Q-Tip also doing remakes. There were a few other solid remakes released in the series too. I was fortunate that a friend came through Fat Beats and hit me with a promo. R.I.P. Scott La Rock.

Boogie Down Productions "Edutainment" (HHC, 8/90)

"What? A hip-hop artist releasing a fourth album? Surely not. Well, okay, but it can't be any good. I mean, these hip-hop artists don't have any staying power, you know. Ha! KRS-One delivers a slap in the face (metaphysically, of course) to all those people who refuse to give hip-hop any respect. "Edutainment" is the fourth Boogie Down Productions album and KRS-One is only just getting started on the suckers. The depth of his thought should put them to shame. The first two BDP albums stand as hardcore classics. But KRS-One doesn't stand still in one mentality, he alters his approach as he reaches a steadily wider audience. This doesn't mean compromising or commercializing - if anything, his lyrics have become bolder and more direct. And if revealing truth is the ultimate hardcore expression, he's more hardcore than ever." Cont'd below after the video...

"Interspersed among the 13 musical tracks on "Edutainment" are six live speech interludes. With 'Point A,' KRS-One opens the album by proclaiming that 1) rap music is the voice of black people; 2) it's the last voice of black people; and 3) black people have created every music you hear out in the streets today. After loud cheers he adds: "What I would like to bring out today is rap music as a revolutionary tool in changing the structure of racist America" ... Fear not, though,  "Edutainment" is still a hip-hop album and KRS-One hasn't forsaken rapping. Musically the album continues the mix of rap and reggae that he forged on Ghetto Music, while lyrically he deals with diverse and deep subjects. 'Blackman In Effect' finds him giving an upfront history lesson on the black roots of early civilization, while 'Ya Know The Rule' gets into some metaphysics... 'Material Love' and '100 Guns' are cautionary tales in the tradition of '9MM Go Bang' (but not nearly so starkly delivered), while 'Homeless' starts out as a story about two rich white joggers looking down on a homeless black man and develops into a much deeper meditation on how all blacks in America are actually homeless. KRS-One continues to do what he does best in the way that only he can." - HHC, August 1990.

Boogie Down Productions "Live Hardcore Worldwide" (HHC, 1991)

"In his opening statement to the New York audience, Kris Parker claims that this is the first ever live rap album. I thought he might be right, but no, there has been another. Remember the '83 film "Wildstyle"? - that soundtrack was a live album too, and a very sought after one too! Despite this error, "Live Hardcore Worldwide" is an excellent collection recorded in venues all over the globe such as New York, London, Paris and Japan (sounds like a 'Chanel' advert huh?). BDP rush through all the hits - "Jack Of Spades," "Criminal Minded," "Ya Know The Rules," "South Bronx," and "Stop The Violence," to name a few, and a great thing about this live production is that the bass is that much more distinctive." That fact is most felt on the live performance of "Bridge Is Over," listen below...

"Along with various members of the BDP posse such as D-Nice, Harmony and Ms Melodie, KRS-One delivers a gleaming show punctuated by intelligent comments in between the jams. Some listeners may be astounded by various claims that Kris drops - like "Jesus was an African," etc - but as he's insisted, these statements are delivered in order to provoke thought, all part of the Human Education Against Lies project. And as well as being intelligent and conscious, KRS-One also sure knows how to work a crowd into a frenzy! Turn the volume up really loud and close your eyes ... feels like you're there doesn't it? Hey, stop pumping your first in the air!" - HHC, 1991. Listen HERE!

KRS-One vs. MC Shan "Rap Attack" (Spin, 8/87)

"On record, M.C. Shan is the mortal enemy of Boogie Down Productions' Scott LaRock and KRS-One. They've been trading insults and waging a dis fest the likes of which are usually reserved for Yankee/Red Sox games. At stake in this 12-inch war is which borough of New York rules rap. And like any street battle, it's been lowdown and nasty all the way. Shan started it with "The Bridge," a rap celebrating the Queensbridge housing project where he, producer Marley Marl, and Roxanne Shante lived. These claims of local supremacy begat Boogie Down's "South Bronx," in which KRS-One traced the beat back to his home neighborhood in the mid '70s and advised Shan to get his "homeboys off crack." Shan and Marley Marl counterpunched with "Kill That Noise," which intercut the sampled chorus of "South Bronx" with a description of Shan's gun and the threat. "Those who try to make fame on my name die." Boogie Down answered with "The Bridge Is Over," which questioned Shan's manhood more than his sense of history and told the Juice Crew (the umbrella outfit that includes Shan, Marley, Shante, Biz Markie, T.J. Swan, and Mr. Magic) what to suck."

"Though neither side will stick to one version of the facts, both Shan and Boogie Down claim that the feud is confined to vinyl. They even claim to like each other ... sort of. So what gives? Is all the fuss just a publicity gimmick? "Shan's the voice of the Juice Crew," says Scott LaRock, "so he bought the bullet. But our beef ain't with Shan, it's with Mr. Magic." LaRock says the group first met Mr. Magic, a WBLS DJ who airs two of New York's four weekly rap shows, at Power Play studios. They were newcomers, and Magic asked, "Who are y'all n-bombs?" Since then, things just haven't been right. Magic scoffs at the notion of a hip hop feud, but adds that he's under "advisement" from WBLS's lawyers not to discuss any details of it. "I can't play a record where someone's talkin' 'bout me," he says by way of explaining his noninvolvement in this nonfeud; "that doesn't make any sense." One fact that all the parties involved will agree on is that the war is fueling record sales. Both Shan and Boogie Down claim the other's dissing has done wonders for their respective careers. "People want to hear this stuff, they expect it - it's show biz," remarks Shan. The two are waiting to perform together, if the price is right. "Face it, in hip hop, two crews battle each others," waxes KRS One philosophically..." - Spin Magazine, August 1987. (Updated audio links and photograph). 

You can check out the full article in Spin below (click to enlarge)...