In 2004 KRS-One provoked controversy when quoted in a panel discussion hosted by New Yorker Magazine as saying that African-Americans “cheered when 911 happened”. The comment drew criticism from many sources, including a pointed barb by the New York Daily News. KRS responded to his defense on these comments with an editorial written for In it, KRS said:

“I was asked about why hip-hop 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 effects 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 hip-hop 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…”

KRS-One has taken to saying that he is hip-hop. Back in the ‘80s he proclaimed that he wanted to use hip-hop as a “revolutionary tool for changing the structure of racist America.” From searching for the edge of the hip-hop world, pushing the boundaries of hip-hop, he finally came to the comprehension that it was not a tool or political program to use as his medium. The Teacher discovered it’s who he is and what he remains so passionately married to. The belligerent beats, the evolution of styles and platforms and the unambiguous apparition of validity and demise. Almost by definition KRS-One is the sole embodiment of hip-hop. His life story is the timeline of the cultural movement.

Discography w. Boogie Down Productions:

  • 1987 Criminal Minded
  • 1988 Man & His Music (Scott La Rock's Greatest Hits and Remixes)
  • 1988 By All Means Necessary
  • 1989 Ghetto Music: The Blueprint of Hip Hop
  • 1990 Edutainment
  • 1991 Live Hardcore Worldwide (Numerous BDP tracks Live)
  • 1992 Sex and Violence
  • 2001 The Best of B-Boy Records: Boogie Down Productions
  • Solo albums:

  • 1993 Return of the Boom Bap
  • 1995 KRS One
  • 1997 I Got Next
  • 1998 A Retrospective (Greatest Hits w/BDP tracks)
  • 2001 The Sneak Attack
  • 2002 Spiritual Minded
  • 2002 The Mix Tape
  • 2003 The Kristyle
  • 2004 Keep Right
  • Cameos and roles in film:

  • 1988 "I'm Gonna Git You Sucka" - KRS One & BDP
  • 1993 "Who's the Man?" - Rashid
  • 1997 "SUBWAYstories: Tales from the Underground" - Vendor
  • 1997 "Rhyme & Reason" (1997) - Himself
  • 2000 "Boricua's Bond"
  • 2003 "2Pac 4 Ever" - Narrator
  • 2003 "Beef" - Himself
  • 2003 "Hip-Hop Babylon 2" - Himself
  • 2003 "Soundz of Spirit"
  • 2003 "5 Sides of a Coin" - Himself
  • 2004 "War On Wax: Rivalries In Hip-Hop - Himself
  • 2004 "The MC: Why We Do It" - Himself
  • 2004 "Beef 2" (2004) - Himself
  • 2004 "And You Don't Stop: 30 Years of Hip-Hop" - Himself
  • 2004 "Hip-Hop Honors" - Himself
  • 2004 "Keep Right DVD" - Himself
  • 2005 "Zoom prout prout" - Himself
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