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.
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.
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.
A breakout single isn’t the easiest thing to find. If it were, millions of aspiring rappers would have landed record deals. And although the ball seems to get rolling after that first big hit (save for the one-hit wonders, of course), an artist is still dependent on their initial ability to connect with an audience. For most, the components of the ever elusive-hit record seem to be simple (distinctive instrumental vocals, engaging lyrics, etc..) yet, the subtle ways in which they are applied often escape aspiring artists. Which is why when one finds one of those elusive records, they hold on to it, play it and share it to the world.
“Pressure,” the latest release from cousins and Queens duo Runitup Rich and Runitup Sho feels like one of those songs. With a Lil Uzi Vert-esque flow and delivery throughout, the Runitup duo seem to have found the exact medium they had been searching for. “The sound we started with was just something we mimicked and thought it sounded like a bump and as we kept going and following music trends, we decided to start trying to be more melodic,” says Sho. “With my background and singing and Rich’s chop-and-go flow, we came up with a sound that was still us but gave an opening for a broader spectrum of music.”
It isn’t just the distinctive guitar riffs nor the infectious chorus, but the duo’s effervescence throughout the song that will likely coax listeners into joining them in sing-a-longs. With the record also falling shy of two minutes, there will be plenty of people playing it on repeat.
As Runitup continue to establish themselves, they refrain from thinking about fame and opulence. The duo is more focused on growing, exploring their sound, evading any hastiness. “Who knows what the future holds as we continue making music. We get to see more of what the supporters of our music want, and we can form a better direction for Runitup as a whole.”
