What is KRS-One’s Net Worth?
KRS One, an American rapper, record producer, actor and activist, has a net worth of $6 million. He rose to fame in the 80s as part of the hip hop group Boogie Down Productions, which helped to pioneer the fusion of rap and reggae. KRS-One later released solo albums under his own name, including hit songs such as “Sound of da Police,” “My Philosophy,” and “Love’s Gonna Get’cha (Material Love).”
KRS-One: Early Life and Career
KRS-One, born Lawrence Parker in Brooklyn on August 20, 1965, left home at 16 to pursue a career as an MC. He became involved in the graffiti scene and adopted the moniker KRS-One. While living in a homeless shelter in the South Bronx, he met youth counselor Scott Sterling and they formed the hip hop group Boogie Down Productions.
Boogie Down Productions and Stop the Violence Movement
Boogie Down Productions was a hip hop group formed in 1986, consisting of KRS-One, DJ Scott La Rock, and Derrick “D-Nice” Jones. Their first album, “Criminal Minded,” was released in 1987. Tragedy struck the group when Scott La Rock was killed in a shooting, but they continued on and released their second album, “By All Means Necessary,” in 1988. Boogie Down Productions became increasingly political with their content, releasing albums such as “Ghetto Music: The Blueprint of Hip Hop,” “Edutainment,” and “Live Hardcore Worldwide.” Their final album, “Sex and Violence,” was released in 1992.
KRS-One gained recognition with Boogie Down Productions for incorporating Jamaican style into hip hop music and giving voice to life in the South Bronx. He also established the Stop the Violence Movement in response to the prevalence of violence in black communities. The group released a single called “Self Destruction” in 1989, featuring some of the biggest names in East Coast hip hop, with all proceeds going to the National Urban League.
KRS-One’s Solo Career
Following the end of Boogie Down Productions, KRS-One embarked on a solo career. His first solo album, “Return of the Boom Bap,” came out in 1993. Two years later, he released a self-titled album featuring guest appearances by Busta Rhymes, Fat Joe, Mad Lion, and Channel Live, among others.
KRS-One’s next album was 1997’s “I Got Next,” which became his bestselling solo album after peaking at number three on the Billboard 200. Subsequently, he released the compilation album “A Retrospective” in 2000. Following this, KRS-One recorded a string of new albums, including “The Sneak Attack,” the gospel-inflected “Spiritual Minded,” “Kristyles,” “Keep Right,” and “Life.” In 2007, he released “Hip-Hop Lives,” a collaboration with Marley Marl. Later albums have included “Maximum Strength,” “The BDP Album,” “Now Hear This,” and “Between Da Protests.”
KRS-One has collaborated with a range of artists throughout his career, including R.E.M., Hellafactz, and Jay-Roc N’ Jakebeatz. In 2009, he made guest appearances on a number of albums, including Masta Ace and Ed O.G.’s “Arts & Entertainment” and Cormega’s “Born and Raised.” He also collaborated with Buckshot on the album “Survival Skills.”
KRS-One’s Temple of Hip Hop Promotes Culture, Faith, and Politics
In the early 2000s, KRS-One founded the Temple of Hip Hop, which serves as a ministry, archive, school, and society. Its goal is to promote the culture of hip hop and encourage fans to celebrate Hip Hop Appreciation Week on the third week of May each year. The group also advocates for the creation, recording, playing, and listening to socially conscious rap music, embracing the genre as an authentic vehicle for the advancement of culture, faith, and politics.
KRS-One, also known as Lawrence Parker, has made headlines for his controversial statements over the years. During a 2004 panel discussion with The New Yorker, he sparked outrage when he claimed that “we cheered when 9/11 happened.” In a later editorial, he clarified that he meant the black community did not feel the same impact as the rich and powerful, whom he believed were the true targets of the attack. He also caused a stir with his book “The Gospel of Hip Hop: The First Instrument,” in which he claimed it would become a new sacred religious text in the future.
