Christmas is here. Which means it’s time to deck the halls with bars of the holiday. So grab your cup of eggnog, your Santa hat, and enjoy this list of Christmas raps.
“You’re A Mean One Mr. Grinch” by Tyler, the Creator.
Inspired by the music and animation of Dr. Seuss’s “How The Grinch Stole Christmas,” Tyler took the reigns and composed a soundtrack to accompany the 2018 Universal Studios animated film The Grinch. Although a whole EP full of songs inspired by The Grinch can be found on Tyler, the Creator’s Spotify, something about Tyler’s typical cartoonishly deep vocal inflections make this song a true holiday standout.
“Christmas in Harlem” by Kanye West featuring Teyana Taylor
There’s something almost ironic about how Kanye, a man known for calling himself “Yeezus,” would release one of the 2010s most critically acclaimed Christmas songs. Originally released on December 17th, 2010, “Christmas in Harlem” brings us the best of both worlds around the holidays. Produced by Hit-Boy and originally released as part of Kanye’s GOOD Music series, “Christmas in Harlem” exhibits the raw talent West possesses when it comes to the meticulous process of arranging music.
“Santa Clause Goes Straight To The Ghetto” by Snoop Dogg featuring Daz, Nate Dogg, Tray Deee, & Bad Azz
Have you ever wanted to hear a gritty, G-Funk Christmas song that simultaneously critiques the modern commercialization of Christmas? Well, “Santa Clause Goes Straight to The Ghetto” is the song for you to hear this holiday season. Again, this song is a perfect blend of Snoop’s typical West Coast cool, calm, and collected rap flows while flipping the typical narratives driving Christmas songs. This song is sprinkled with social commentary and full of joyous Christmas cliches.
https://www.youtube.com/watch?v=mVkg5FM59NA
“Christmas in Hollis” by Run D.M.C.
If there were ever to be a rap song synonymous with Christmas, it would be Run D.M.C.’s “Christmas in Hollis.” This song may owe some of its notoriety to the hotly contested Christmas movie, Die Hard (yes, it’s a Christmas movie! ). Run D.M.C. trade-off shouted verses about stumbling across Santa in the park.
“Christmas Rappin’ ” by Kurtis Blow
For the next song on our list, we go back to the early days of rap when its popularity as genre was just becoming mainstream. Curtis Blow’s “Christmas Rappin’,” was released in 1979 and found instant success, capitalizing on two popular trends, rap and holiday music. “Christmas Rappin’,” was a product of two Billboard employees who recognized the potential for a hit song. They then enlisted Curtis Blow as the MC who would deliver this rendition of the Christmas classic “Visit from Saint Nick.”
“Merry Muthaf****n Xmas” by Eazy-E featuring Menajahtwa, Buckwheat from the Lil Waskals, Will 1X, & Atban Klann
Eazy-E isn’t referred to as one of the kings of gangsta rap for nothing, the twisted spin “Merry Muthaf****n Xmas” takes on Christmas music and is a prime example of E’s close ties to gang life growing up in Compton, CA. Everything about this song rings true to West Coast rap: the beat, the lyrical narratives Eazy-E and company explore, and, not to mention, the yuletide sampling and mentions of Santa that classify this otherwise raunchy cut as a Christmas song.
The most recently released song on this list, “Chi-Town Christmas” is perhaps one of the most emotionally potent tracks from Chicago-born artist Chance, the Rapper. Chance released a whole album’s worth of original Christmas music this past month featuring longtime collaborator Jerimiah. In “Chi-Town Christmas,” Chance once again takes center stage as the rap game’s family man and recites verses depicting a lowkey Christmas in Chicago. This isn’t the first time we’ve seen Chance dabble in Christmas music. However, this is by far his most organic attempt.
Upon the release of the music video for his single, “Calling Me,” Lefrak city native Kyngjo was happy with how his music was progressing, but was not fulfilled. Having begun his foray into the rap game only a year prior, he had seen significant growth in his sound and audience. With songs like “I’m Good Luv,” “Calling Me” and “Hypnotize” having reached tens of thousands of plays, he felt like it was time to up his production value.
“A lot of people want to rap, but what separates most of them is who puts their own money behind it,” he adds. “People always say this, but you really have to invest in yourself.”
With that, he embarked on a quest to shoot his best music video to date. The slick & catchy single “Who That,” which contains features from Long Island native, Pell The Don and Bronx rapper, Goggle Boy.”
“I just felt like that was a song I could push,” he explains. “Everyone did they thing on it and it’s something you could bump in the club or in your whip.” With a more polished music video in mind, he sought out popular Queens videographer, V.Lens. “I have ideas, but I also want a videographer who can come with their own [ideas] and knows how to shoot a story, not just record the video.”
Together, both artist and videographer brainstormed ideas and eventually came up with a fitting storyline to match the record. And so, the quartet made their way to the Long Beach section of Nassau County, as the boardwalk was designated as the perfect locale.
Actress and model, Ceecee Valez, played Kyngjo’s love interest in a plot that sees him and Pell The Don counting wads of cash when Kyngjo peers off, noticing Valez’s character making her way out. The rest of video sees the trio deliver their verses in the two Rolls Royce Wraiths and inside a club-themed locale.
Overall, the music video was quick and to the point (along with plenty of eye-catching props). Each artist got their chance to showcase not only their verses, but how well they work in front of the camera as this was a significant step up for each of them. “I wanted to separate myself from a lot of other people and I feel like I did that,” Kyngjo reveals.
Flushing Town Hall announces their showcasing of Kunqu Opera on December 12, 2020 at 8PM EST. The event will take place via live-stream on Zoom or YouTube.
The Kunqu Opera showcase is titled Kunqu in America: Memories of Chung-ho Chang Frankel. The showcase at Flushing Town Hall will illustrate how Kunqu opera, the oldest extant version of Chinese theater, took root in the United States by featuring memories of Ms. Chung-ho Chang, one of the most influential Kunqu practitioners throughout the country. The program will be presented bilingually, both in English and Mandarin, and will be told through videos, pictures, and interviews.
Ms. Chung-ho Chang is known for being one of the “last female literary talents from China’s Republic Era” particularly after the passing of Madame Chiang Kai-Shek. She was born in Shanghai to a big and prestigious family in 1913 and became a well-known poet, calligrapher, and Kunqu opera singer. She was active in the arts and cultural scene along with her three sisters during the first part of the 20th century. She then moved to the United States in 1949 with her husband, Hans Frankel, a sinologist who later taught at Yale University and who she met while studying at Peking University.
She is known for having planted the seed of the Kunqu opera while also nurturing the art community while she lived in California and Connecticut. She did this by holding Kunqu gatherings in her home, bringing students, actors, musicians, and scholars together to practice Kunqu singing and movements. For decades, she traveled from university to university to promote and demonstrate the art form. In 2001, UNESCO (the United Nations Educational, Scientific and Cultural Organization) proclaimed Kunqu a masterpiece of “the oral and intangible heritage of humanity”. Today, there is a thriving Kunqu opera community throughout the United States in which Ms. Chung-ho Chang is greatly involved in.
The Flushing Town Hall virtual event will feature anecdotes of Ms. Chang collected exclusively by the Kunqu Society from interviews with Ms. Chang’s family members, students, and friends, will showcase several elaborate costumes and musical instruments that were handmade by her and will collectively showcase Kunqu Opera.
Following the program, there will also be a live Q&A featuring guests who appeared in the stories. People interested in attending must RSVP in advance to receive a link to watch the event on Zoom or YouTube. To RSVP or to learn more about the program, visit The Flushing Town Hall’s website.
The year is 2010. Every middle schooler has an armful of Silly Bandz, people still expect Avatar sequels within the next few years, and female rappers are all but extinct—enter Nicki Minaj.
While the Lil Kim and Lady Gaga inspirations were immediately clear, Minaj was still unlike anything anyone had ever seen. Her eccentric accents, peculiar alter egos, and quirky wordplay made her an instant hot topic, sure to reignite the flame of female rap that had petered out with the retirement and incarceration of its biggest stars. It seems unfathomable in an era dominated by Cardi B, Megan Thee Stallion, Doja Cat and Minaj herself, but for a hot minute, she was the lone femcee in a boys’ club.
It’s also hard to believe Minaj’s debut album Pink Friday came out a decade ago. While time has flown by, it feels strange imagining a world without her undeniable contributions to pop and hip hop. Since Pink Friday she’s gone on to see higher highs (and lower lows), but it remains her most heartfelt and cohesive effort.
The Origins
Onika Tanya Maraj was born on December 8, 1982, in Saint James, Trinidad. Her father, who was a drug addict, burned down their house when she was five, which prompted her mother to relocate the family to Queens, New York. Maraj went to LaGuardia High School in Manhattan, the performing arts school that inspired the film Fame.
After gaining recognition from a trio of mixtapes in the late 2000s, Maraj signed to Lil Wayne’s label Young Money Entertainment in 2009. One of her first appearances as the Nicki Minaj we know today was on “BedRock,” a song from Young Money’s debut collaboration album with Lil Wayne and Drake. Both have since become frequent collaborators, with Drake’s star rising at the same time. Minaj soon got to work recording her debut album, Pink Friday, and quickly secured A-list cosigns from the biggest names in rap and pop alike. Eminem, Rihanna, Kanye West and will.i.am all appear on the standard version, but despite some great features, they never quite manage to overshadow her.
The Album
After a year of building hype through featuring on otherartists’songs, Pink Friday was released on November 22, 2010. It debuted at #2 on the Billboard 200, reaching #1 a few months later, and was eventually certified triple platinum with over 3 million sales. It was also nominated for three Grammys, including Best Rap Album. Lead single “Your Love” sampled Annie Lennox’s “No More I Love Yous.”
Minaj’s detractors might dismiss the suggestion of any depth in her discography based off of the raunchiness of “Anaconda” or “Stupid Hoe,” but Pink Friday rarely approaches the subject. It certainly isn’t family friendly, but besides a stray Eminem verse and swearing for braggadocio purposes, the album is surprisingly tame by her standards. The Nicki Minaj on Pink Friday is far more concerned with making history, endearing listeners to a likable underdog, and preparing for world domination. The album is a masterclass in versatility, with each track peeling back a new layer to who she is and what she’s capable of as an artist. Besides mononymous performers with decades under their belt (think Cher or Prince), you’d be hard-pressed to find a better chameleon. She switches between budding queen bee and insecure ingenue with ease, leaving room for her best incarnation: provocateur Roman Zolanski.
His name has aged horribly in the post-Me Too era, but Roman Zolanski is far and away Minaj’s greatest alter ego. A moody, flamboyant, and frankly bizarre character, Roman is essentially Nicki’s evil twin from London. He’s afflicted with Tourette’s syndrome, prone to violent outbursts, and speaks in an exaggerated Cockney accent. During her feud with Minaj, Lil Kim compared Roman to Fire Marshall Bill, Jim Carrey’s character from In Living Color. He’s definitely an acquired taste, but he’s responsible for some of the most creative insults in Pink Friday. Minaj wastes no time eviscerating her idol-turned-nemesis on “Roman’s Revenge,” and on “Did It On ‘Em” she coins her now-famous catchphrase: “These girls are my sons.”
Roman’s incendiary trolling is only one side of Pink Friday, though. Breakout pop single “Super Bass” introduces Minaj as a bubbly, flirtatious, Pepto Bismol edition Barbie (today, her fans are affectionately called “Barbz”). Originally a bonus track, it went viral in early 2011 and is now Minaj’s signature song. The lyrics speak of her prerequisites for romantic partners, most importantly the double entendre in the title. The hook is commonly misattributed to Nicki, but it’s sung by uncredited co-writer Ester Dean. Minaj’s guest spot on Kanye West’s “Monster” makes a compelling case, but the opening verse of “Super Bass” is easily her most memorable. Just say the opening line “This one is for the boys with the boomin’ system” to a group of Gen Zers, and watch them fill in the rest.
Although Minaj’s cartoonish personas still breathe life into Pink Friday ten years later, the album’s most charming aspect is her vulnerability. 2020 Nicki Minaj isn’t remotely relatable, but she was once humble and outwardly insecure. Recorded on the brink of breaking out, she’s happy to revel in her newfound success (see “I’m the Best” and “Blazin”) but often grapples with self-doubt. On “Dear Old Nicki” she admits to missing her life before fame, while on “Here I Am,” she struggles to separate her self-image from external approval. Minaj shows hints of weakness on later tracks (“Marilyn Monroe” and the haunting “Grand Piano”), but on Pink Friday she’s at her most uncensored—emotionally, of course. The ridiculousness of Roman is absent here, but it still makes sense that they’re paired together in the same project.
Minaj’s follow-ups lean too far in either direction—Roman Reloaded gets lost in its absurdism, whereas The Pinkprint is a real downer—but for an early moment in time, she achieved perfect balance. Pink Friday masters pop and rap with ease, and it’s simply funto listen to. The writing is often laugh-out-loud funny, like on the Buggles-sampling “Check It Out,” and surprisingly poignant to those only familiar with the shock value of her derriere ditties.While there have been better female rappers before and after, none are as multifaceted. Nicki said it best on Little Mix’s 2018 song “Woman Like Me”: “Uh, a million, I’m getting my billy on / Greatest of all time, ’cause I’m a chameleon / I switch it up for every era, I’m really bomb / These bitches really wanna be Nicki, I’m really mom.”
The Legacy
A new wave of female rappers has since sprang up, and while she once saw them as competition, Nicki has learned to play nice. Just this year she achieved her first #1 on the Billboard Hot 100, a remix of Doja Cat’s “Say So,” after a decade of being clowned for not having one at her level of fame. Surprisingly, Iggy Azalea and Cardi B both beat her to the punch: previous mega-hits “Super Bass,” “Starships” and “Anaconda” peaked at 3, 5 and 2 respectively. It’s an impressive comeback after a short decline—Remy Ma’s 2017 diss track “Shether” damaged Minaj’s credibility, and her 2018 album “Queen” underperformed.
Almost every female rapper after Nicki would readily admit to idolizing and even copying her. While she’s always been generous with her features, she’s finally begun collaborating with her proteges. Besides “Say So,” she’s appeared on Megan Thee Stallion’s “Hot Girl Summer” and Migos’ “Motorsport” alongside Cardi B. Never mind that their alliance went down in flames—Cardi still paid her respects to Nicki in an Apple Music interview last August:
When I was six, seven, eight, there was a lot of different female rappers. And then, there was a time that there were no female rappers at all. I have to keep replaying songs from the early 2000s. I have to keep replaying it, replaying it, replaying it because for a while there wasn’t no female rapper. And then there was one female rapper that dominated for a very long time. You know what I’m saying? And she did pretty good. She’s been still dominating.
Last Friday, Minaj dropped a 10th anniversary complete edition of Pink Friday available for streaming. It includes all standard and deluxe tracks, as well as Young Money’s “BedRock.” Bonus track “Girls Fall Like Dominoes” could be Nicki’s mission statement: the first verse is about converting male rappers’ fangirls to devoted Barbz, and the second name-drops female music and fashion icons, most of whom Nicki has since worked with. It’s remarkable in retrospect, and encapsulates the essence of Pink Friday: a woman ready to break barriers and celebrate her weirdness. Over the last decade, it’s safe to say she’s more than earned her title of Queen.
Flushing Town Hall announced a jazz lineup which started back on November 11 and will run through December 20. The program currently includes five different performances throughout both months. A sixth event will ‘spill over the bar-line’ into 2021. The first two programs have come and gone, but the jazzy fun is far from over.
The Town Hall is a Smithsonian affiliate and is located in Queens in New York City that presents multi-disciplinary global arts to engage and educate global communities. They are a member of the New York City’s Cultural Institutions Group (CIG). They have restored and managed the historic 1862 landmark on behalf of the City of New York. Specifically they try to embrace the history of Queens as the home of jazz, by presenting the finest in jazz performance. Although the historic venue’s doors have been temporarily closed due to COVID-19, Flushing Town Hall continues to pursue its mission of bringing people together by providing global arts for a global community through its online series,FTH at Home! Which will be presenting the November and December programming.
On Thursday, November 19, 7:30 p.m. EDT Flushing Town Hall will present “Lioness: Women in Jazz Concert Series Featuring Lauren Sevian’s LSQ” The series featured Lauren Sevian’s LSQ with Lauren Sevian (baritone saxophone), Helen Sung (piano), Christian McBride (bass) and E.J. Strickland (drums). Tune in to YouTube for a free pre-recorded streaming performance, taped just for this event, followed by a LIVE Q&A with the musicians.
On Wednesday, December 9 at 7 p.m. EDT the Virtual Jazz Jam “Holiday Party” will be taking the stage. This is the Flushing Town Hall’s free Virtual Jazz Jam: Celebrating the Legacy of Louis Armstrong. Open to amateur and professional musicians, including high school students, jammers are invited to perform their favorite holiday song, and recall any memory around their tune. Participants can also show-off their family’s traditional holiday treats and drinks, and toast the season.
The programming will wrap up on Sunday, December 20 at 5:30 PM EDT with “New Music Horizons – Collaborative Artists in Concert.” This will be part 2 of the Bruce Arnold & The Mark Wade Trio New Music Horizons Part II presents two more dynamic jazz composers Bruce Arnold and Mark Wade. Bruce Arnold will present a set of solo acoustic guitar featuring his style of lyrical melodies and raw dissonances. The Mark Wade Trio will follow with their brand of group interplay and expressive improvisation that has brought them an international following.
To participate, musicians should email education@flushingtownhall.org and identify a three- to four-minute tune they intend to play (live or pre-recorded). Only 15 musicians will be selected on a first-come, first-served basis. Anyone is invited to tune in to the LIVE VIRTUAL jam and listen on Facebook or Zoom.
The Lioness: Women in Jazz Concert Series Featuring the Lioness Ensemble was scheduled for Sunday, December 13 at 2:30 p.m. EDT but has been postponed until 2021. This women in Jazz Concert Series will feature the Lioness Ensemble with Alexa Tarantino (alto saxophone), Jenny Hill (tenor saxophone, flute), Lauren Sevian (baritone saxophone), Amanda Monaco (guitar), Akiko Tsuruga (organ) and Sylvia Cuenca (drums). Tune in to YouTube for a free pre-recorded streaming performance, taped just for this event, followed by a LIVE Q&A with the musicians.
Catch Up on Past Events:
On November 11, the Jazz Jam celebrated “November Gratitude.” This event celebrated the Legacy of Louis Armstrong invited musicians and jazz aficionados to participate or simply listen during its monthly jam session. In November, musicians will choose songs that fit into the theme “November Gratitude.”
The “New Music Horizons – Collaborative Artists in Concert” took place on Saturday, November 14, 7:00 p.m. EDT. It featured part-I of the David Shenton & The Mark Wade Trio who are two dynamic jazz composers. David Shenton is a classical composer and Mark Wade is a jazz composer.
To attend the programming or get more information on it visit Flushing Town Hall’s website.
Starting this month, Hallets Point Play has begun to offer Broadway experiences, from big screen movies to full scale live productions. Radial Park’s first show, a live production of Andrew Lloyd Webber’s Phantom of the Opera, officially opened this month. An 11-piece orchestra brings this show to life along with talented actors Ali Ewoldt (Les Miserables National Tour and Broadway, The Phantom of the Opera Broadway, and The King and I Regional Tour and Broadway) and Derrick Davis (The Phantom of the Opera National Tour, The Lion King National Tour). Ice cold beverages and movie theater snacks are available.
Radial Park is taking extreme measures in order to maintain their guests’ safety. All have their temperature checked upon entry, and can choose a glow in the dark wristband to make others aware of his or her comfort level: green bracelets for go, yellow for being cautious, and red to tell others not to come near. Fans can enjoy the show from their own cars, but those without vehicles are welcome to rent a socially-distanced picnic table complete with a boombox for audio. There are COVID “lifeguards” on duty all night to ensure that everyone practices social distancing.
Ali Ewoldt as Christine in Phantom. Photo by Tricia Baron.
“The Durst Organization is thrilled to host such a creative concept from Stark Productions,” said Helena Rose Durst, Principal at The Durst Organization. “Radial Park will provide a unique live entertainment experience that we are all craving during these difficult times, but in a safe and responsible way.” The Durst Organization also holds 20 tickets each performance for Astoria Houses residents. A portion of sales goes to Friends of Hallets Point, a nonprofit organization that improves the community life and beauty of Hallets Point.
“As the saying goes, ‘The show must go on!’” commented Jeremy Shepard, Stark Production Group Founder and President. “We are thrilled to be able to be presenting Broadway at the drive-in and are grateful to our partners, Friends of Halletts Point and the Durst Organization, for making it all possible.” Radial Park is personal to Shepard, and he hopes that it can help lighten New Yorkers’ spirits during quarantine. “I chose Broadway because it has been a part of my life for the last 10 years,” he says. “It seems a shame it is shut down when we all need it the most. Can’t wait to see you at Broadway at the drive-in!”
Starting this weekend, a full screening of Purple Rain will run until October 25. Audiences will watch the film along with nine live numbers performed by the Radial Park Band, American Idol Finalist Aaron Marcellus, Broadway’s Nick Rashad, and Burroughs and Grammy award nominee, Lenesha “Sister” Randolf.
Tickets are available for Phantom of the Opera and Purple Rain now. Prices are per car (up to 5 people) or per picnic table (up to 4). Sign up for Radial Park’s mailing list and don’t miss news and exclusive offers.
On Oct. 14. Flushing Town Hall will host their monthly Virtual Jazz Jam will be kicking off spooky season with, “October: The Heart of Autumn.”
The Virtual Jazz Jam, Led by Astoria resident Carol Sudhalter, is part of the Flushing Town Hall online entertainment series FTH at Home!. This is their aim to provide a sanctuary for jazz musicians and lovers who can’t experience a live show, due to the global pandemic.
The Jam invites a maximum of 15 musicians a month to play their music, as long as they haven’t played at one before. This encourages a variety of artists without repeating the same tunes.
Since spring 2020, there has been a medley of different themes for the jams, including one in August, which was, “unity in mind, spirit and action.”
Tune into Flushing Town Hall’s website at 7:00 pm (EST) on Oct. 14 to experience an autumnal virtual jazz show.
On September 22, 2018, at Flushing Meadows Corona Park in Queens, Paul Simon said goodbye.
Paul was introduced by Queens Borough President Melinda Katz and NYC Mayor Bill de Blasio. He started the 2 and 1/2 hour show with Simon & Garfunkel classic “America.” His setlist pretty much remained the same as it was the rest of the tour.
“This is like, two miles from where I used to play high school baseball,” he said after the first song. He then took out a baseball and glove and started playing catch with the massive audience. You can hear the sound of passing planes from above. “I was worried about that” he said. “Well, Welcome to New York” he joked as the plane can be seen landing in nearby LaGuardia Airport.
The show continued with more classics like “50 Ways To Leave Your Lover” “Boy in the Bubble” and “Mother and Child Reunion.” During the Goodbye Rosie part in “Me and Julio,” the crowd went crazy when he said “Queen of Corona” Paul’s wife Edie Brickell joined him on stage for the whistling solo. After the song, he said to the crowd “How much fun is it to sing a song about Corona, in Corona?!” Looking back, that was pretty cool moment.
Even though this was his farewell concert, Paul still sprinkled in some songs from his new album “In the Blue Light.” Although this is his fourteenth solo studio album, the album consists of re-recordings of lesser known Simon songs like “Can’t Run But” And “Rene and Georgette Magritte with Their Dog after the War,” which were both performed.
Paul then started talking about a song he had an “interesting relationship” with. He talked about writing this song and “giving it away” to someone, but being able to reclaim it for his final tour. The song he was referring to was “Bridge Over Troubled Water.” After performing it with a slightly different arrangement with YMusic, who Paul worked with on his new album, he thanked Aretha Franklin who covered the song in 1971.
The show ended with two encores. The first encore started with “Late in the Evening” but the highlight was “Still Crazy After All These Years.” The second encore started with “Homeward Bound” followed by “Kodachrome,” “The Boxer” and “American Tune.” The show ended with Simon & Garfunkel’s “The Sounds of Silence” performed by Paul with just an acoustic guitar. He then thanked the crowd and walked off stage and just like that, the last show of the final tour ended, and Paul Simon said goodbye.
Out of the 26 song set, only five were Simon & Garfunkel songs. Not one mention of Garfunkel was made during the entire show other than a picture of the duo that flashed briefly during a video montage during “Homeward Bound.”
Although this was his final “tour,” Paul has stated that he may still do an occasional performance.
Setlist: America, 50 Ways To Leave Your Lover, The Boy in the Bubble, Dazzling Blue, That Was Your Mother, Rewrite, Mother and Child Reunion, Me and Julio Down by the Schoolyard, Rene and Georgette Magritte With Their Dog After the War, Can’t Run But, Bridge Over Troubled Water, Wristband, Spirit Voices, The Obvious Child, Questions for the Angels, The Cool, Cool River, Diamonds on the Soles of Her Shoes, You Can Call Me Al
Encore: Late in the Evening, Still Crazy After All These Years, Graceland
Encore 2: Homeward Bound, Kodachrome, The Boxer, American Tune, The Sound of Silence
The 13th studio album from legendary Queens rapper Nas was released on August 21 through Mass Appeal Records. Composed of twelve tracks and one bonus record, the project was produced solely by California native Hit-Boy, a well-known producer who has made a name for himself for producing records with artists the likes of Kanye West, Jay-Z, Drake, Big Sean and more.
Following the lackluster reception to his previous body of work, Nasir, King’s Disease had fans skeptical, wondering what the fabled emcee had left. Would the album feel as uninspired as its predecessor or, would it be as acclaimed as 2012’s Life is Good? Other concerns arose when the track list was revealed, as Anderson .Paak, Lil Durk, Fivio Foreign and A$ap Ferg held the guest spots, which led the public to assume that Nas would try to conform and abandon his timeless style for a more modern trend of music.
These doubts were surely put to rest after the intro track and realized that Nas wasn’t conforming but taking his style and meshing it with more modern sounding beats and production. He effortlessly got into his pockets and felt comfortable from start-to-finish.
The album cover goes consists of Cupid-like babies. Some are black, others white, with wings of angels but colored red as if they were demons holding up a plaque that is covered by dirt. Nas’ name appears on the plaque, while one of the babies holds a crown. There is a rusty bloody machete on the table with fruit, gold, a skeleton head, the head of a hog, a serpent and flowers from a garden.
Throughout his last couple of projects Nas has been made his spiritual beliefs apparent and this album cover reflects that. King’s disease is defined as a disease where affluent people eat poorly, invest poorly and have bad relationships, which leads to one’s downfall. Nas touches on business and health throughout the project but the theme he harkens on the most is love and relationships. On multiple songs he tells stories of failed romantic relationships, or how relationships work poorly within the black community. Nas also touches on the struggles of the black community as a whole throughout.
Hit-Boy did a masterful job with the beats. The album has a classical sound to it, with a couple of instruments being played in the background on the majority of the tracks, combined with the heavy bass that is preferred in today’s rap music.
The story-telling is a highlight of the album. He didn’t do it too often but, when he did, they were amazing. On the record, “Car #85,” we get Nas at his descriptive best as he tells tales of his close run-ins with the law, his trips to hang out with friends, as well as his attempts of keeping a romantic relationship alive. All precipitated by this car service that he would use exclusively.
The length of the album was a plus – short and succinct, thus making it an easy listen, although several records felt short. Nas is known to rap multiple verses yet, on this project, it seemed like he would give one or two concise verses so as to not prolong the records.
And while many of the features were surprising, he did a great job of staying true to himself while letting other artists shine in their own lanes. He didn’t try to step on their toes and in return, they didn’t step on his. If there can be a complaint, it’s that the contrasting sounds made for songs sounding entirely different when a new act was introduced. For example, in the Lil Durk-assisted “Til The War is Won.” Nas raps for two verses and basically hands the record off to Lil Durk for the last minute or so. This also happened with his song with Anderson .Paak “All Bad,” which sounds like an Anderson .Paak song featuring Nas.
While having a great theme, Nas fails to focus on it for the entirety of the album. And at times, it feels like he was running down bullet points instead of detailed explanations. Nas is knowledgeable, but at times he doesn’t explain his knowledge – he just puts the knowledge out there for fans to either get it or not. This was a problem from his last release Nasir, where fans reduced many of lines to him being a conspiracy theorist.
Full Circle
“10 Points” is a record which embodies where Nas is in life. The song consists of him kicking game to the youth, explaining, “Take it from a street dude, you don’t need to be a street dude. Get a lawyer, read your contract, and eat food.” The way he delivers his rhymes in a smooth cool manner is what separates Nas from a lot of emcees, still.
He also addressed the longstanding rumors of him copying the late Tupac Shakur’s ‘Thug Life’ tattoo, rapping, “Pac saw the chain, got his medallion, I want it. Insinuate imitation cause I copied his stomach. Kings honor kings, straight from my pops to my son’s sh*t.” This was his way of laying to rest how his ‘Godson’ tattoo mirrored Tupac and a ‘Thug Life’ tattoo both being placed across their stomachs. The beat switch on this track was flawless and was the highlight of Hit-Boy’s production.
Nas also gave shootouts to legendary NBA player Kobe Bryant and rap legend Nipsey Hussle, rhyming, “Rest in Peace Kobe and Nip that’s off the rip.” People forget that Nas once ripped Kobe on his Street Disciple album on the track “These are our Hero’s” where he went at the then troubled NBA star for his alleged rape case allegations in 2003. It was refreshing to hear Nas ignore old wounds and pay respects to Bryant, although the two had reconciled long before his death.
Other great records include “Blue Benz,” “Car #85,” “27 Summers,” and “The Definition.” The beats for “Blue Benz” and “27 Summers” stand out.
Nas and Hit-Boy complimented each other well. Hit-Boy showcased his range as a producer while showing Nas’ ability to adapt to the new climate of music. Nas works best on more simplistic beats, with some drum patterns and instruments in the background to boost his message and it was cool that he was allowed to still find his pocket.
Nas meshed with many of the features on the album and it was great to see the return of his group, The Firm, on the song “Full Circle.” King’s Disease is a good album, and while it isn’t Nas’ best work, it wasn’t expected to be. It’s just good to hear one of the genre’s all-time greats still delivering quality music.The album is a solid 7.5 out of 10 and we look forward to what more Nas has to offer.
Flushing Town Hall is joining Global Music Month with a virtual concert series. A collective of world music festivals and events across the U.S. and Canada, GMM 2020 consists of 19 presenting organizations. Throughout September, the historic arts landmark in Queens will showcase archived “Global Mashup” concerts as well as live Latin and Korean music.
No two Global Music Month events are the same, and each concert offers a unique blend of sounds and cultures. The Town Hall is kicking off the festivities with replays of their 2018 Global Mashups, where two types of international music come together. Each band performs a solo set, then they combine their talents and jam out together.
The first such concert, “Latin Boogaloo Meets Afrobeat,” technically isn’t part of Global Music Month because of its pre-September date, but it airs at 7:00 p.m. EDT on Tuesday, August 25. After that, the series will continue weekly at the same time through September 22. Subsequent mashups include “Egypt Meets Haiti,” “Mexico Meets Guinea,” “Balkans Meet El Barrio,” and “Texas Meets Peru.”
Besides the archived 2018 mashup series, Flushing Town Hall has assembled two nights of live music.
Latin American Rhythms Night starts at 7:00 p.m. on Wednesday, September 16, exploring New York City’s colorful Brazilian, Mexican, and Argentinian artists. The night features live and pre-recorded performances from David Vieira, Sinuhe Padilla, and Pedro Giraudo. The show is hosted and curated by Martin Vejarano of the Cumbia River Band, and also features “Spanglish” stories and interviews.
Finally, psychedelic Korean folk band Coreyah is closing out Global Music Month at 7:00 p.m. on Tuesday, September 29. Since 2010, the band has melded a contemporary pop sound with traditional Korean music.
“As a cultural institution whose mission is to bring people together by presenting global arts for a global community, we couldn’t be more thrilled to be a part of this unique and diverse consortium and to participate in the Global Music Month 2020 online festival,” says Ellen Kodakek, Flushing Town Hall’s Executive & Artistic Director. “The fact of it being virtual means audiences throughout the country and around the world can enjoy our content and not just those in New York, where our venue is located. We are especially proud to present this programming free of charge.”
While all Global Music Month shows are free, Flushing Town Hall still encourages donations. The full Flushing Town Hall Global Music Month lineup is available on their website.
