NYS Music 2023

Category: Queens

  • Best of the Boroughs: How Queens Brought the Best And Worst Out Of Hip Hop

    As hip hop celebrates its 50th year of existence, its stronghold on pop-culture remains ever-present. With exhibits, festivals and documentaries in honor of the world’s most popular genre. As hip hop evolves, nuances and pieces of history tend to be lost in the shuffle. Despite reaching the rest of the world, hip hop got its education in New York City. Before the South had something to say, the boroughs battled for supremacy and laid out a blueprint for all to follow. This is what Best of The Boroughs is for. Capturing the essence of hip hop throughout all of New York’s five boroughs and neighboring towns.

    The Formative Years

    Emerging from the Bronx in 1973, this counter-culture movement quickly sashayed throughout New York. Meanwhile, in Queens, hip hop’s grimy and raw energy went through a maturation process, unveiling an inner-consciousness and business sense. However, Queens’ family oriented local did little to gain the rappers credibility in what remained a rugged genre. Yet, as the movement grew, the masses learned more about Queens’ underworld and the various project housing’s where terror rained. This is what makes Queens unique, there isn’t one singular identity. Much like its socio-economic makeup, the rap scene emerged as a diverse oasis where mainstream, conscious and hardcore all meet.

    Queens Hip Hop artists
    Queens is home to a diverse mix of hip hop

    Manhattan keeps on makin it, Brooklyn keeps on takin it
    Bronx keeps creatin’ it, and Queens keeps on fakin’ it

    – KRS One, “The Bridge is Over”

    Having existed in inner-city communities for years, the genre tasted mild success in 1979 with Kurtis Blow‘s Gold single “The Breaks” giving hip hop its own break into the mainstream. However, this cultural consolidation of styles, fashion, street life and music still lacked true superstars to solidify it. Stars that transcended race and culture.

    The Beginning of The Golden Era

    In essence, this is where Queens made its biggest imprint on the genre, delivering hip hop its first true superstars in Run DMC and LL Cool J. For their part, the “Kings of Rock” were the first rappers to have a platinum album and to appear on MTV — paving the way for fellow Queens native Ed Lover and the culturally monumental Yo! MTV Raps. In a sense, Run DMC showed that hip hop had arrived and rappers were deserving or major label deals. In turn, LL Cool J broke the mold by showing that sustained stardom could come from a solo act and serve as a segue into other business and entertainment opportunities. With their trademark B-Boy fashion, they brought the culture and style of the street dudes to the mainstream, introducing America to a new wave of urban and youth culture.

    Queens rappers
    Queens MC’s have pioneered several trends in hip hop history

    In light of this, Queens’ hearty contribution to hip hop often played into the facade that the rappers were soft. With a hub of African American and Caribbean homeowners, it gave an impression that anyone from the borough was the product of some kind of suburbia. Yet the dichotomy was ever-present in the music. While the West Coast gets credit for gangsta rap, Kool G Rap of Corona, Queens is a forefather of the hardcore, street, story-telling style that made the careers of so many rappers.

    Of course, Kool G Rap got his start with Queensbridge natives, The Juice Crew. The fabled hip hop collective — spearheaded by producers Mr. Magic and Marley Marl — introduced several legendary acts to the scene including Big Daddy Kane, Biz Markie and Roxanne Shante who at only 14 became one of the first women to gain notoriety as a rapper.

    Equally important are the Queens-adjacent Long Island rappers who paved the way. A list that includes Rakim, Biz Markie, MF Doom, Erick Sermon, Keith Murray and De La Soul. Now these bunch weren’t from Queens but shared similar rap ideologies, and well they’re closer to Queens than anywhere else.

    Hip Hop Evolves

    Following behind their predecessors, the next generation of Queens rappers brought on a run of genuine, diverse and innovativeness that created a moment-in-time. Before vulgarity and street ethos became the norm in popular music, acts like A Tribe Called Quest, De La Soul (Long Island) and Pharoahe Monch offered variance to the scene. As Gangsta Rap rose in popularity, the alternative acts gave insight to the other black existence. And With their own imagination to draw upon, they helped bridge the gap between hip hop and its preceding genres. Eventually bringing about an implementation of jazz and house music into their production to mix with more easy-going subject matter.

    Queens is a diverse oasis for hip hop
    Queens rappers brought a unique blend of conscious and gangeter music

    At the same time, Queens’ version of gangster music brought about the philosophical street rapper. Hugely influenced by Islamic — but mostly — mafioso ideologies and tactics — thanks to John Gotti’s celebrity status and the cultural impact of films like Scarface and The Godfather — the methodical, tactical and observatory ways of organized crime played a large role thematically in hip hop, street music. Under this backdrop legendary acts like Nas, Mobb Deep, Capone-N-Noreaga, delivered timeless records that not only depicted the criminal life but instilled valuable life lessons. In contrast, Queens still provided the raucous, wild energy. Both Onyx and The Lost Boyz (R.I.P. Freaky Tah) brought a different frenzied element to the scene, helping showcase how truly diverse in sound Queens was.

    The End Of Golden Era

    However, for anyone wondering how hip hop became so violent, look no further than the end of the golden era. As popularity grew, so did the stakes. And with the glitz-and-glamour of hip hop at full-force during the late 90’s, it became even harder to blur the lines and separate the streets from the music. Coupled with the monetary benefits of pushing the envelope, name-dropping became the norm as the genre grew to be confrontational.

    In Queens, this was epitomized in the beef between Ja Rule and 50 Cent. On the heels of Tupac Shakur’s death, Gangsta Rap had officially taken over. Shakur’s volatile personality and propensity for thought-provoking soundbites — along with his talent — turned him into a media darling. A Queens habitant for a period (being close with E-Moneybags and Stretch of Live Squad), his impact was felt.

    Changes

    In this aftermath, the Hollis-raised Ja Rule emerged as a star in the late 90’s using similar aesthetics as the now-mythical Tupac. In one of the earlier-instances of the 4th wall breaking, he was mocked by rivals for fabricating a street persona. Which was a cornerstone of something the Southside Jamaica-bred 50 Cent’s image. In essence, their beef stems from 50 feeling slighted because neighborhood hero Kenneth “Supreme” McGriff backed Ja Rule’s music over his. Someone who he felt didn’t have the pedigree of a gangster, not like him. That and many other incidents have led to the two Queens rappers loathing each other for over two decades.

    2000's Queens rappers
    Queens maintained its status throughout the 2000’s

    Over the years, the two multi-platinum selling rappers have gone back and forth with numerous diss records and even a physical run-in that resulted in stabbings. As their anomisity towards one another played out in the music and on TV, it continued a trend of street politics making its way to the record label’s marketing rooms. And all in all, the wreckage left behind created animosity city-wide. Although the golden era’s major players were still at their peak, anomisity and testorone filled the air.

    Nonetheless, Queens was well represented with the emergence of 50 Cent as a worldwide force. In turn, his G-Unit imprint launched the careers of Lloyd Banks and Tony Yayo. And the old garde of LL Cool J, Nas and Mobb Deep remained relevant.

    Present Day Queens Hip Hop

    Be that as it may, hip hop in Queens has suffered since veering away from the boom bap sound. However, rather than a host of power players, Queens has one dominant Queen in Nicki Minaj. The last decade-and-a-half saw the South Jamaica native achieve commercial success that puts her in a league of her own among women in hip hop.

    Embed from Getty Images

    But altogether, street culture has taken its toll on the rap game and Queens is no exception. The respective slayings of Stack Bundles and Chinx Drugz ended two buzzing careers set for take-off. Meanwhile, one of the faces of the new generation of Queens music, Shawny Binladen, has had trouble staying under the radar.

    However, Queens still generates stars, Lil Tecca had a top 5 Billboard hit at 16-years-old and 10 overall chart entries. While to a lesser degree LoutGotCash has maintained a presence in the local hip hop scene. It may be true that the road ahead is unclear in the era of microwave music, yet the impact of Queens in hip hop is ever-present. For better or worse.


  • How Upstate New York Brought Back “East Coast” Hip-Hop

    There is perhaps nothing more synonymous with hip-hop than New York City. The genre was birthed, nourished, and has continuously evolved thanks to the five boroughs. From hip-hop’s Jamaican influence to its eventual inception on the streets of the Bronx, NYC has helped to propel hip-hop into the mainstream giant that it is today. 

    New York City has produced an endless list of iconic and influential hip-hop figures, from the all important Grandmaster Flash, to The Notorious B.I.G, and even to groups like Wu-Tang. The city has been a hotbed for rappers and hip-hop artists throughout much of the genre’s history. Acts like Nas, Jay-Z, 50 Cent, and Nicki Minaj have not just become rap superstars, but have elevated to some of the biggest names in all of music.

    NYC Rapper Nas performing

    NYC DOMINANCE

    Part of the aura and mythos surrounding New York is not just the artists that are associated with the region, but also the way that the city itself has influenced the music. Having originated in the Big Apple, hip-hop was inherently New York. From its embryonic stages in the ’70s to its “gangsta” personality in the ’90s, the genre’s identity has been linked to NYC for much of its lifespan. 

    For close to 30 years the “sound” of hip-hop was the “sound” of New York. Characterized by confident flows, lyrical versatility, classic samples, and an atmosphere of authenticity, “East Coast Rap” was the ultimate standard. 

    Historically, hip-hop acts from the city have dominated, whether it be commercially or critically. Seven of the top 25 highest selling hip-hop albums belong to New York artists, a mark higher than any other city . Additionally, of the twelve rappers/hip-hop artists currently in, or scheduled to be inducted into the Rock & Roll Hall of Fame, seven come from NYC, with two more representing Long Island.

    Grandmaster Flash
    Hip-hop pioneer Grandmaster Flash

    The popularity and success of hip-hop in NYC led to the genre’s diaspora throughout much of the United States. By the mid to late ’90s Los Angeles, Chicago, and Atlanta were all major players in the scene. Artists like Tupac, Snoop Dogg, Outkast, Lil Wayne, Common, etc. all had tremendous success being outside of NYC, however up until the last 10-15 years it was still the Empire City that really moved the needle.

    A CRUMBLING EMPIRE

    Despite NYC’s hip-hop pedigree, the “East Coast” sound that made it so influential has become quieter and quieter  in recent years. Instead, influences of trap, drill, cloud rap, and even reggaeton have filtered into the city to create a diverse, intricate, and hard to pin down sound from many NYC artists. Even with the likes of rappers like Joey Badass, Fabolous, and Roc Marciano, the often grimy, word play heavy, and sample laden sounds of the ’80s through early 2000s East Coast rap has largely dissipated from the city. 

    As NYC has lost its sound, other cities have refined theirs. Today, avid hip-hop fans will easily be able to identify where certain artists are from within seconds of hitting the play button. Acts like 21 Savage, Lil Baby, and Migos all have a distinct sound and atmosphere that connects them with Atlanta. Other artists like GloRilla, Moneybagg Yo, Key Glock, and the late Young Dolph boast specific features and elements that represent Memphis. 

    On Complex’s 2023 list of “The Best Rap Cities Right Now”, NYC sat at #2, yet there was no city with more of a musical or even social disconnect between its most prominent artists. In terms of musicality, and apart from maybe an accent, there is very little that artists like Ice Spice, A$AP Rocky, Fivio Foreign, and Nicki Minaj have in common. 

    Nicki Minaj

    “As a whole town we’re losing… I’m talking about the new New York, who do they have to look up to? We’re losing identity and it’s crazy because we was the treadsetters,” Queens legend N.O.R.E. said in a 2013 interview with DJ Vlad. 

    Not only has there become a stylistic schism in NYC but there has been a long standing adversarial attitude amongst many of its biggest artists. Of course there’s the well publicized beef between Jay-Z and Nas, then there’s 50 Cent taking on all of NYC, and in the 2010s it was Nicki Minaj and Cardi B. While other places were fostering and supporting new sounds, promoting upcoming artists, and building together, many New Yorkers were divided. 

    “The older rappers that were already situated in the city didn’t pay up-and-comers no mind if they didn’t sound like the old sound. Bobby Shmurda was the first one with a newer sound, a different sound, that was accepted by New York City hip-hop culture,” Jamel Robinson, the host of Brooklyn rap Youtube Channel Melz TV said in an interview with Complex. 

    The mention of Shmurda’s name also shines a light on another troubling aspect of NYC’s identity crisis. Controversy and tragedy have plagued the city’s biggest and brightest stars. Shmurda burst onto the national stage after the release of his mega-hit “Hot N*gga” in 2014. Proudly repping NYC, the then 19-year-old became an internet star, spawning viral trends and memes all around social media. Just two years later however, Shmurda would be sentenced to seven years in prison after facing conspiracy and weapons charges. The rapper helped to pave the way toward a renewed New York sound and image, but his untimely removal from the game left NYC without another trailblazer for years. 

    Bobby Shmurda
    Bobby Shmurda

    Unfortunately, the artist that would garner the same kind of attention as Bobby would also have a short run at the top. Fellow Brooklyn rapper Pop Smoke took hip-hop by storm in 2019. Blending Chicago and UK Drill with a distinctly New York attitude, the artist was hailed as one of the next Brooklyn legends. But, while renting a house in LA in February of 2020, Pop Smoke was tragically shot and killed during a botched home robbery. Once again the city was left without an artistic talisman.

    Warning signs of NYC’s eventual fall from hip-hop have been there for years. Even New York’s own have referenced the influence of other locations and subgenres. In A$AP Rocky’s 2011 song “Palace”, he sings “Harlem N*ggas gon’ be feelin’ this, East Coast n*gga but how trill is this?” alluding to the Houston slang term “trill”. Rocky goes onto praise the Texas city later in the track rapping “Influenced by Houston hear it in my music, a trill n*gga to the truest, show you how to do this”.

    The Harlem’ native’s love for Southern sounds helps to demonstrate the way in which New York artists have grown to accept and incorporate other attributes of hip-hop. While New York’s current sound may represent the diversity within music and the area’s population as a whole, it diverges from the hip-hop legacy that was crafted there. Without identifiable qualities and features, it makes it hard to discern a “New York City” artist from any other act. 

    Perhaps New York’s current lack of identity is due to the natural evolution of genres, especially in a place that has such deep roots in one specific kind of music. It may be the normal progression of any artistic originator to eventually move on from the elements and features that made it so special to begin with. 

    Whether it be because of a natural artistic change, tension between artists, or even just “bad luck”, New York City’s reputation in hip-hop has faded over the last 10-15 years. 

    Pop Smoke Murdered
    Pop Smoke

    UPSTATE IS THE NEW “EAST COAST”

    But, as the longstanding “East Coast” sound has begun to leave the blocks of New York City, a refurbished sound has traveled upstate, seeping into cities like Albany, Rochester, Syracuse, and most notably Buffalo. These cities have partially curated their own subgenre of hip-hop, characterized by many of the same ideas, trends, and themes that helped to establish NYC as a mecca. 

    The most notable of these artists hail from Buffalo and are a part of the “Griselda” collective. Spearheaded by Benny the Butcher, Conway the Machine, and Westside Gunn, the three have helped to carry the torch for the “new wave” of hip-hop coming out of Upstate New York.

    While they all certainly have their own individual characteristics, like Westside’s unique flow or Benny’s confident delivery, their music all shares similar themes and perhaps most apparent, a certain atmosphere. Defined by lyrics about drug dealing, street smarts, high fashion and systematic failures, their content is the musical offspring of acts like Wu-Tang, Mobb Deep, Onyx, and even early Jay-Z. 

    “I just do me and if you like it, you like it, if you don’t, you don’t… me being a real individual, people love that. It’s enough to build a cult following. It’s not a gimmick, this is just what we do for real, ” Westside Gunn said in an interview with Complex. 

    westside gunn
    Westside Gunn

    Conway’s authenticity and edge mirrors much of the sentiment that ’90s and traditional East Coast rappers were known for. The success of Griselda has helped to provide sustenance for a section of hip-hop fans who have been starving for a more gritty and dark sound. 

    It’s all the way left [west] from the City but the mindset is similar, very similar

    NYC rapper Murda Mook on Buffalo.

    It’s not just the lyrics and attitude of Griselda that calls back to the boom-bap era of East Coast rap, it’s also their production. For years the trio has enlisted the help of the producer Daringer, who has seemingly managed to hold onto all the unused samples, sounds, and techniques that legends like DJ Premier and RZA would’ve craved for. 

    In an era where hip-hop production is full of cheap snares, 808s, synths, overdone bass, and half-baked samples, Griselda and Daringer combine to create beautifully violent, vivid and foreboding records. Even lacking drums at times, their tracks provide a listening experience unlike anything in contemporary hip-hop. 

    Streaming apps like Spotify and Apple Music can easily expose lovers of Griselda to other similar artists. And after some quick research it’s clear to see that a lot of these “similar artists” come from Upstate New York.

    Whether it’s Syracuse’s Stove God Cooks, Rochester’s 38 Spesh, or the plethora of other Buffalo artists, there is a blossoming of rap talent in Upstate New York. While this vibrant and nostalgic subgenre has been making waves in and amongst hip-hop heads for years, it has yet to make a big splash in the mainstream. 

    “It’s more about being creative, making dope music, and just solidifying my name. I don’t give a fuck about none of the other shit,” Stove Good Cooks told Peter Rosenberg in a conversation with Hot 97. 

    Despite the individual success of some artists in the subgenre, there has yet to be a track or album that has crossed over into popular music. Benny The Butcher gained notoriety for having J.Cole on “Johnny P’s Caddy” while Conway and Westside appeared on Ye’s Donda. With that being said there is still a disconnect between mainstream hip-hop lyricists like Cole, Kendrick, Cordae, JID and many acts from the grimier subgenre. 

    Buffalo rapper Che Noir

    Although widespread commercial success has evaded the subgenre as a whole, the influence and inspiration that it has supplied cannot be ignored. Back in 2021 Tyler, The Creator credited Westside Gunn for “making me want to rap again”. Additionally, legendary comedian Dave Chappelle has gone on stage to shout out Griselda. 

    Thanks to the ground covered by some of the larger acts in the subgenre, rappers like Rome Streetz, Che Noir, Mach-Hommy, plus producers like Conductor Williams have all been able to shine. Even without large-scale commercial backing, the subgenre has provided some of the most talented and innovative artists in contemporary hip-hop. 

    As hip-hop celebrates its 50th anniversary, the genre has never been more accessible, popular, or accepted. While the future trends and sounds that will define New York hip-hop are unknown, it seems all but certain that artists outside of the traditional NYC metro will have an impact. Amongst a flurry of sonic changes and social media fads, there’s something refreshingly nostalgic about the style of hip-hop emanating from Upstate. Although NYC has relinquished its throne as the genre’s king, the state of New York is still an important thread in hip-hop’s cultural and musical web. 

     

  • The Story of Roxanne Shanté: Hip Hop’s First Female Icon

    The milestone anniversary of one of the most influential and diverse music genres in history is here, as August 11th marked Hip Hop 50. In light of the anniversary, legends ranging back from the ’70s until now have been resurfacing to pay tribute, revisit the past, as well as stake their claim as hip hop luminaries. Today we lay out the history of a hip hop icon who helped shape the genre as one of the first ever female MC’s, the Queen of Queens: Roxanne Shanté.

    Lolita Shante Gooden, better known to the world as Roxanne Shanté, was born and raised on the streets of New York City, just like hip hop itself. Coming out of Queens, the spit-fire herself was introduced to the rising genre at an early age and possibly more lucrative was the genre being introduced to her. At eight years old, Shanté discovered her love and talent for spitting rhymes whilst watching the witty celebrity wordsmith Nipsey Russel on TV. What’s more, is that the streets called to her as rhyme was just a sign of the times and battles were the name of the game. After her substantial discovery, the little girl would rhyme all day every day, and by the age of ten years old, Shanté won her first battle, securing a cash prize of $50. From there on, Roxanne battled her way to the top beating out her competition one by one leaving a clearer path for those brave enough to follow. Her confidence, fearlessness, and pure talent all came together, leading her to become one of the most popular and sought after female rappers of her time.

    Roxanne’s popularity, however, truly began at 14 with a passing interaction with long time acquaintance Marley Marl – American DJ, record producer, rapper, and so much more. Soon after getting out of her two year stretch at multiple girl’s homes and returning to her mother and sisters, Roxanne was walking up the street in the midst of doing her mother’s laundry when Marley called to her. Hearing that she was the best around, the DJ asked Shanté to rap over a track he was working on. Shanté told him she could only give him seven minutes of her time – the time remaining on her laundry.

    Marly Marl, Mr. Magic, and Tyrone Williams, all members of the soon to be hip hop collective, the Juice Crew, had been working on a special track using the original beats from group U.T.F.O.’s hit song “Roxanne, Roxanne,” which tells the story of a woman who rejected the group’s advances time and time again. Marl’s track was always meant to be an answer record as U.T.F.O. backed out of a concert promoted by Mr. Magic and lost him a substantial amount of expected income. As Marl laid down the track, Shanté was free to do her thing, taking on the persona of “Roxanne” and putting every member of U.T.F.O. in their place one after another saying, “He ain’t really cute, he ain’t really great, He don’t even know how to operate.” Every second, every word, and every rhyme was free-styled by that 14 year old talent in seven minutes, making history as one of the first moments a female took to hip hop and forced the male dominated genre as a whole to sit down, listen, and show some respect.

    The song was officially named “Roxanne’s Revenge” and became a massive hit selling over a quarter of a million copies in the New York area alone. Not only that, but the track spawned a series of answer-back records, possibly the most in history, numbering well over a hundred as artists and fans received Shanté’s free-style as a challenge, including U.T.F.O. who produced another track along with a law suit. This time, the trio’s response highlighted the female rapper Elease Jack who they deemed “The Real Roxanne.” This third track on the same woman took hip hop into uncharted waters, as in that day in age most answer records ended with a second recording. The controversy and attention was quickly named the “Roxanne Wars” resulting in perhaps the first ever ‘rap beef’ between two artists in hip hop history.

    With the song’s success, Lolita was fittingly Roxanne and became an official member of the Juice Crew. Throughout her stretch of tours and live performances with the collective, Roxanne’s battle image and mindset never faded, as Shanté came out with numerous recorded battle tracks including “Round One: Roxanne Shanté vs Sparky Dee” alongside rapper Sparky Dee who not long before released a diss-track about Roxanne herself.

    “Even after I started making records, I still had such a battle mentality,” says Shanté. “I didn’t want to be second best, I didn’t want to be the best girl — I wanted to be the best.”

    Unfortunately, time and time again the artist faced challenges due to her age and role as a woman in a male dominated career and world. In 1985, Shanté battled it out with Busy Bee Starski for the title of “Best Freestyle Rapper” but lost to Kurtis Blow’s bias admitting his vote went to Starski since Roxanne was a girl.

    By the age of 25, with two completed studio albums Bad Sisters and The Bitch Is Back along with over 18 critically acclaimed singles, Shanté had taken a huge step back from the music scene and largely retired from recording. The MC faced physical and sexual abuse on many accounts resulting in hospital visits and the birth of her first son by the time she was sixteen years old. Not only that, but Shanté had been cheated out of money by managers and various others who she believed she could trust the most. These challenges along with the evolving scene of the hip hop industry all led to her hiatus.

    Today, Roxanne is still doing her thing, staying busy, and most importantly staying connected to her roots. Shanté, who now lives in New Jersey, co-leads an education nonprofit, is known to occasionally perform, and has done a series of press events where she comments on hip hop and rap artists of today. Additionally, she hosts Sirius XM’s Have A Nice Day on Rock The Bells Radio along with DJ Cool V where the pair sit down together, crack jokes, and play the music that they love. The rapper also continues to make impressive live appearances as just on July 21st of this summer she participated in DJ Cassidy’s Pass The Mic Live! at the one and only Radio City Music Hall.

    For years, Roxanne has gone on to be an unsung hero when it comes to the history of hip hop and its evolution, yet the artist refuses to live in spite, saying, “I’m not the female Hip Hop artist people talk about. I’m not invited to the awards. I’m the person who people would assume would be angry at home. And I’m the total opposite of that. I love life so much. I’m a breast cancer survivor. I know what it’s like to go through lumpectomies, through everything. Life is amazing to me. I enjoy every minute of it.” 

    Even though the rapper may not take her lack of recognition to heart, the world of music and the world of hip hop have begun to right its wrongs and give Roxanne the attention she truly deserves. In 2017, Netflix released a biopic named “Roxanne Roxanne” which tells the story of her beginnings in the genre along with the struggles she faced as a woman of color in NYC. The movie not only highlights the hurdles she jumped through and her immense talent but also displays her impact on the genre itself and rappers that have gone on to find their own success because of her. One of these artists is the Grammy Award-winning rapper Nas who credits Roxanne with being the person to first get him to take rap seriously.

    “Roxanne Shanté was a young teenage girl who had heart ’cause she would just be out in the projects, hanging, and I would see her,” he explains. “We heard about her and she was a hood star at first. She heard me doing some little rhymes and she was interested, and she was like, ‘Yo, I want you to participate in something. I want you to do some stuff. I want you to work on your craft and when I see you again, have it together.’”

    Roxanne’s story, influence on others, and connections with the hip hop world are impossible to write on one page as the artist has history with legends such as Big Daddy Kane, Biz Markie, and Queen Latifah; however, as Roxanne has shown time and time again, she can prove herself to anybody, anyplace, anytime with a beat and a microphone.

    Roxanne is a hip hop icon and deserves to go down in music history appreciated as a true luminary. Not only did she defy odds as a young woman of color on the streets of Queens, the splash Shanté made with her immense talent, street cred, and her seven minutes helped push the entire genre into the mainstream. Hip hop artists today can’t ever fully comprehend their complete history unless they recognize the Queen of Queens: Roxanne Shanté, the blueprint for hip hop MC’s.

  • Hearing Aide: AstroGun’s Authentic LP ‘The Underground Sessions’

    AstroGun, a Queens-based alternative rock band, has released their new LP The Underground Sessions. The 11 tracks are, as intended, raw and authentic with the hollow creaks of instruments and the echoes of underground jam sessions.

    Credit: B. G. Aramayo

    AstroGun is now in its sixth year with three previous LPs: Internalization, Truth & Lies and Liquid Love. The Underground Sessions takes the best of what these LPs had to offer for a powerful album that represents the best the band has to offer. The band has solidified with Astro Li as the drummer, Adam Anthony as bassist and vocalist, as well as Robby Thunders as the guitarist.

    We wanted to capture our live sound on a recording, which we hadn’t done before. Something like what Radiohead did with From The Basement. We were also thinking of Nirvana’s Smart Sessions, we wanted it to be raw and organic.

    Bassist and Vocalist Adam Anthony

    The album has a distinct lyrical sound due to Anthony’s vocals, and maintains an energetic, raw vibe throughout the piece. Each song has an iconic opening the distinguishes one from the other. It occasionally plays with headphone panning, separating certain sounds into one or the other. This happens in “Mind Revolution,” which also contains some of Li’s best drumming with satisfying echoes and creaks. Li’s beats offer a strong foundation for this song.

    “Writing on the Wall” is the final song on side A, and it has a satisfying opening using headphone panning. A lone guitar begins on the left side while the main instrumentals come roaring in on the right. It also carries that authentic styling with a small audio spike and the occasional sliding of fingers down a guitar. The lyrics are well mixed in “Writing on the Wall,” more distinct than in other pieces.

    “Liquid Love” on side B takes the time for some slower moments that are missing from other songs. This makes it a unique entry, especially with the echoing guitar throughout the piece. The vocals are quieter, but are given space with an absence of clamor. While it is not always so, one of the background drum beats sounds like a dull heartbeat, which is perfect for “Liquid Love.”

    The Underground Sessions, divided into separate entries for side A and side B, can be found on the band’s Spotify page.

  • Bobby Weir & Wolf Bros Confirm September Tour Dates

    Bobby Weir & Wolf Bros have recently confirmed that they will be performing select shows in Charlottesville, South Burlington, Columbus, Philadelphia and Baltimore this September. The group, led by Weir alongside Don Was, Jay Lane and Jeff Chimenti, will also be joining Willie Nelson’s Outlaw Music Festival 2023, making stops at venues throughout New York State, including Queens and Saratoga Springs.

    The band will once again be joined by The Wolfpack, a string and brass quintet featuring Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown, along with Barry Sless on pedal steel performing the expansive catalogue of Grateful Dead, Bobby’s solo albums and more.

    They will be joining Willie Nelson’s Outlaw Music Festival 2023 for seven shows this September, including Forest Hills Stadium in Queens, NY, Saratoga Performing Arts Center in Saratoga Springs and more. They’ll also make their debut performance at the legendary Farm Aid in Noblesville, IN at Ruoff Music Center on September 23.

    About Bobby Weir & Wold Bros

    Bobby Weir & Wolf Bros have released two notable live albums, Bobby Weir & Wolf Bros: Live in Colorado followed by Bobby Weir & Wolf Bros: Live in Colorado Vol. 2. Both volumes feature songs recorded live at Colorado’s Red Rocks Amphitheatre and Gerald R. Ford Amphitheater in June 2021.

    Notably, the second volume received praise from Pitchfork who raved, “he stages some of the most beloved material in the Grateful Dead’s catalog with the passion and reverence of a couple spending their 50th anniversary looking back on their wedding day,” while American Songwriter said, “Weir and the Wolfs manage to stay true to the template while also taking the music beyond any original incarnation by reinventing them in ways that find imagination and intrigue well stirred in a contemporary context.”

    Weir also released Ace: 50th Anniversary Deluxe Edition, an album which features one of the band’s most notable performances, a show at Radio City Music Hall in celebration of his debut solo album, Ace. The band played the entire album live and welcomed a number of special guests, including Tyler Childers and Brittney Spencer.

    The band debuted orchestral performances alongside the National Symphony Orchestra at the Kennedy Center, as well as three nights with the Atlanta Symphony Orchestra at the Atlanta Symphony Hall. Each night the ensemble performed a completely unique set featuring hits from the expansive Grateful Dead catalogue, Bobby’s solo albums and more. Stanford professor and composer Dr. Giancarlo Aquilanti provided original orchestration.

    The Members

    Bobby Weir, one of the original members of the iconic Grateful Dead, honored with a GRAMMY Lifetime Achievement Award in 2007, stands out as one of the rock genre’s most exceptional and unique rhythm guitarists. The Grateful Dead is still one of the highest-grossing concert attractions in the U.S. and their final tally of 2,318 total concerts remains a world record. 

    Weir has been honored with the Americana Music Association’s Lifetime Achievement Award and the Les Paul Spirit Award, as well as a Goodwill Ambassadorship for the United Nations Development Program. His first solo album in more than ten years, Blue Mountain (2016), was critically praised upon release.  Weir has been member of Dead & Company since its formation in 2015. Dead & Company has completed 10 tours and has performed to more than 4 million fans across 235 shows since the band’s debut.  Weir is also a member of Bobby Weir & Wolf Bros, who were formed in 2018.  The band set out performing the expansive catalogue of Grateful Dead, Bobby’s solo albums and more and has toured extensively throughout the U.S.

    Don Was is a GRAMMY-winning producer and founder of the ’80s funk-rock band Was (Not Was), known for hits such as “Walk The Dinosaur” and “Spy In The House Of Love.” As an in-demand, highly acclaimed producer, Was has been honored with four GRAMMY Awards for his production work in each of the past three decades, including Best Album honors for work with the Rolling Stones and Bonnie Raitt. Production credits include the Rolling Stones, Willie Nelson, Roy Orbison, Gregg Allman, John Mayer and Neil Young.

    Albums produced by Was have achieved dozens of multi-Platinum, Platinum and Gold certifications and have sold more than 90 million copies worldwide. As one of music’s top bass players, Was has collaborated with countless musicians throughout his storied career, spanning a multitude of genres.

    Jay Lane is a longtime Weir collaborator and drummer who played with Weir’s RatDog for more than 16 years. He was also one of Primus’ first drummers and has recently performed with Phil Lesh and Friends as well as Dead & Company.

    Acclaimed keyboardist Jeff Chimenti has a long history of working with former members of the Grateful Dead having performed with Bob Weir & RatDog, The Dead and Furthur. He has been a member of Dead & Company since the band’s formation in 2015. In 2020, Jeff Chimenti joined the Wolf Bros.

    Tour Dates

    September 8—Park City Song Summit Festival—Park City, UT
    September 10—FirstBank Amphitheater—Franklin, TN*
    September 12—CCNB Amphitheatre at Heritage Park—Simpsonville, SC*
    September 13—Ting Pavilion—Charlottesville, VA
    September 15—Saratoga Performing Arts Center—Saratoga Springs, NY*
    September 16—Xfinity Center—Mansfield, MA*
    September 17—Forest Hills—Queens, NY*
    September 19—The Green At Shelburne Museum—South Burlington, VT
    September 20—Hartford HealthCare Amphitheater—Bridgeport, CT*
    September 22—Pine Knob Music Theatre—Clarkston, MI*
    September 23—Farm Aid—Noblesville, IN
    September 26—Mershon Auditorium—Columbus, OH
    September 27—The Met Philadelphia—Philadelphia, PA
    September 28—Pier Six Pavilion—Baltimore, MD

    *Willie Nelson’s Outlaw Music Festival 2023

    Tickets and More Information

    Ticket sales began on July 21, and are currently available for purchase here. VIP packages will be available for the headline dates as well.

    For more information, please contact Samantha Tillman, Kate Rakvic or
    Carla Sacks at Sacks & Co., 212.741.1000, samantha.tillman@sacksco.com, kate.rakvic@sacksco.com or carla@sacksco.com.

  • Album Review: Nas is Good but Hit-Boy Makes ‘Magic 2’

    Rarely does a rapper of Nas’ stature enhance his legacy with a late career-run. After all, hip hop is spearheaded by the youth and for many a fans, the output of the twilight years only diminish artists overall catalogue. Even so, with the help of Grammy-winning producer Hit-Boy, Nas has carved out his latest run as one of hip hop’s few evolving legacy acts. Since the release of King’s Disease in 2020 the duo have combined for five projects in the last 3 years. And with their latest effort, Magic 2, Hit-Boy quells any final notion of Nas albums not having great beats. Stylistically, the 11-track album sees Nas continue his career victory lap, this time with Hit-Boy bringing the flair.

    Embed from Getty Images

    Magic 2 Review

    In between the King’s Disease album series — where a fourth edition is in the works– Nas and Hit-Boy’s extensive studio time has yielded another series of enthralling album cuts. While Esco remains the pre-eminent figure, this latest effort showcased Hit-Boy’s ability to elevate an already stamped legend and broaden him rhythmically.

    I feed the people ’cause I love the people/ Two series at once, yea let’s run the sequel.

    – Nas, “Office Hours”

    Short and succint, the album contains two features. The first, notably burying the hatchet with former rival 50 Cent on the project’s second track, “Office Hours.” A Queens connection, the duo boast about their respective journeys to the top, impact on the culture while the former rivals big each other and their hometown. The latter sees Nas exchange bars with one of contemporary rap’s hottest stars in 21 Savage on the album’s outro “One Mic, One Gun.” Backed by Hit-Boy’s grandiose horns, 21 Savage delivers a flowingly introspective verse to close out the album as the two rappers do an excellent job of playing off of each other. In this case, 21 serves as the contemporary star awaiting folklore status, while Nas plays the role of timeless legend.


    It’s cool to be mainstream, I rather be timeless that’s if we keeping it P.

    – Nas, “One Mic, One Gun”

    Overall, Magic 2 sees Nas at his most tame lyrically. Rather, prioritizing his varying contemporary flows and cadences while rhyming over a wide variety of beats. Hit-boy harnesses Nas’ toned approach to rap and juxtaposes it with a slew of rhythmic horns (“Ervin Magic Johnson,” “One Mic, One Gun”), keyboards and old school synths (“What This All Really Means,” “Black Magic,” “Pistols on Your Album Cover”). The production is an excellent backdrop to Nas’ story-telling style as throughout the project the veteran MC flips between rehashing old tales and staying current. Although the album lacks many truly standout records, it also does not have any bad ones and is an overall solid project.

    Album’s Best

    I done hooked up with a beast, never stingy with the beats.

    – Nas, “What This All Really Means”

    Hit-Boy steals the show in this latest joint-effort. While fans of Nas will always be up for hearing him rap, the production helped accentuate what was otherwise a mild lyrical output for the Queensbridge native. This isn’t to say that there aren’t moments of magic as the project’s latter half has a few excellent album cuts (“Slow It Down,” “Bookeem Woodbine”). However, the production had a fresh and grand feel as even the boom-bap records sounded current. To his credit, Nas knocked each record out of the park with razor sharp flows and delivery.

    Album’s Worst

    Ultimately, Magic 2 will serve its purpose as a holdover until the release of King’s Disease IV. However, the lack of a standout record is conspicuous when judging the album in its totality. Moreover, along with the contemporary feel of the production and delivery, seemingly came the present-day need for bad punchlines. Markedly, Nas spinkles a slew of these throughout the album which forces you to think, did Nas really say this? Namely, the first bar on the opening track “Abracadabra” is “Durag energy, I’m on a wave, you n-ggas cap.” Then on “Ervin Magic Johnson” he raps, “have you jammed up like what you spread on toast.” Not to mention the “my scrotum is golden” line he spews on what is otherwise a great song in “What This All Really Means.”

  • Queens Public Library’s “Hip Hop 50 Summit,” Featuring Darryl McDaniels, KRS-One, and Lumidee

    On Aug. 3 and 4, the Queens Public Library (QPL) will be celebrating 50 years of hip hop with their “Hip Hop 50 Summit,” which will feature Darryl McDaniels of Run-DMC, as well as Lumidee and KRS-One. With panel discussions, interactive workshops, exhibits, augmented reality experiences, open mic sessions, DJ sets, and performances, the event will be at the LaGuardia Performing Arts Center.

    Additionally, the event will be hosted by QPL’s Hip Hop Coordinator Ralph McDaniels, also known as “Uncle Ralph.” Alongside him will be co-host DJ G$Money. In like manner, the goal is to create a space for the discussion of hip hop, its legacy and its future with interactive workshops throughout the two-day event.

    I am very excited about the Hip Hop 50 Summit. The conversation and agenda will cover all five decades of hip hop culture and its core elements – DJing, MCing, breakdancing, graffiti art and knowledge. The summit will celebrate hip hop legacy, but more importantly, it will create a space to exchange ideas, while also becoming a lasting resource on the subject for the future.

    QPL Hip Hop Coordinator Ralph McDaniels

    Noteworthy Panels for Thursday, Aug. 3

    “Hip Hop History, Science, Technology & Innovations” is from 10:30 to 11:15 a.m., moderated by the young entrepreneur Aaliyah Duah. Rappers Phresher and Young B will work alongside data scientist and CEO of DataedX Group Dr. Brandeis Marshall to discuss aspects of the entertainment industry.

    “The Business of Hip Hop, Careers and Activism,” is from 11:30 a.m. to 12:15 p.m., and will feature rapper Darryl McDaniels, singer Lumidee, and media personality A.V. Perkins. Furthermore, they will be discussing the power of hip hop, from activism to making money.

    “Paving the Way: Pioneers of Hip Hop” is from 2:00 to 3:00 p.m.. Those in the panel include: KRS-One; Darryl McDaniels; MC Sha-Rock, one of the first female MCs in hip hop history; and DJ Hurricane, known for his work with the Beastie Boys.

    “Switch the Style Up: Fashion in Hip Hop” is from 3:30 to 4:30 p.m. with host, fashion historian and archivist Tianni Graham. Joining her will be the Shirt Kings, Black fashion designer Malik Dupri, PowHerful Apparel CEO Dave Huie and FIT Professor, as well as hip hop fashion expert Elena Romero.

    Noteworthy Panels for Friday, Aug. 4

    “The Message: Media, Technology and the Future” from 10:00 to 11:15 a.m. will have moderation from the founder and executive director of the Universal Hip Hop Museum Rocky Bucano. VIBE Magazine Editor-in-Chief Datwon Thomas, YouTube Black Music & Culture Director Tuma Basa, Microsoft Senior Attorney Bruce Jackson, and DJ TedSmooth will all be talking about the intersection of hip hop and media.

    “Fight the Power: Social Justice and Education” will close the summit, held from 2:30 to 3:45 p.m., and will include: Dr. Christopher Emdin, the founder of the #HipHopEd social movement; DJ and Co-Founder of Hip Hop Blvd NYC Al Pizarro; hip hop artist and criminal justice reform activist Mysonne Linen; and Lennox Yearwood Jr., President and CEO of the Hip Hop Caucus. Likewise they will discuss hip hop as a vehicle for social change.

    While the event is free, tickets are limited and are required for entry. Moreover, more information and a full schedule for the panels is available here. As a plus, the event will also be available for streaming on QPL’s Instagram.

  • Wu-Tang Clan To Headline SiriusXM and Pandora’s Hip Hop 50 Celebration in Queens

    Legendary hip-hop group Wu-Tang Clan has announced they are headlining “For the Love,” a collaboration between SiriusXM and Pandora that celebrates Hip Hop’s 50th anniversary.

    “For The Love” includes an unforgettable day of events on Aug. 10 in Queens at the Knockdown Center, by the Wu-Tang Clan, considered by many to be the greatest hip-hop group of all time. Founded in Staten Island in the early 1990s, the group is comprised of members RZA, GZA, Method Man, Raekwon, Ghostface Killah, U-God, Masta Killa, Inspectah Deck, Cappadonna, and the deceased Ol Dirty Bastard (ODB).

    They have been touring as a unit since their debut record Enter the Wu-Tang (36 Chambers) came out in 1993. The now triple-platinum release vaulted the group with songs like “C.R.E.A.M.” (Cash Rules Everything Around Me) and “Protect Ya Neck.” Their live sets are a family affair, with every member of the crew representing their lyrical contributions to their eight studio albums, as well as notable cuts from the Wu-Tang solo discography. Every Wu-Tang Clan show is a celebration of prolific careers as individuals and especially as the most storied group in hip-hop history.

    Earlier in the day, For the Love: Community Giveback Sponsored by Cricket invites fans to the Knockdown Center to celebrate hip-hop’s next 50 years with local students, families, and businesses in support of the Boys & Girls Club of Metro Queens. Throughout the afternoon, the event will feature a wide range of festivities from breakdancing performances and double-dutch to live, interactive broadcasts of SiriusXM Hip-Hop Nation’s Gray Rizzy and The Heat’s DJ Steel. SiriusXM personalities Mina SayWhat, Torae, Coach PR, D-Stroy, Bugsy, DJ Superstar Jay, DJ Wallah, and DJ Taj will also be on hand during the event to host, DJ, and more. Food will be provided by a host of local, BIPOC-owned and operated food trucks.

    Hip-hop is not just music, it’s a culture which has defined and redefined our society through the years. Wu-Tang Clan has contributed so immensely to the hip-hop community, making a lasting impact on so many people’s lives, and we are honored to share this momentous occasion with these music pioneers and have them take the SiriusXM stage to celebrate the 50th Anniversary of hip-hop.

    Joshua “J1” Raiford, Vice President, Music Programming, SiriusXM/Pandora

    SiriusXM and Pandora will also have a multitude of special hip-hop programs, including countdowns, female only rap, underground cuts, and more. The Wu-Tang Clan headline show will be open to SiriusXM subscribers and Pandora listeners, 21+. RSVP is required for an opportunity to attend the in-person show here.

  • Nas Releases 5th Hit-boy Collab With ‘Magic 2’

    Nas continues his prolific run with his 16th studio album, Magic 2. Since the release of Nasir in 2018 — his first under his Mass Appeal label — the legendary rapper has been on a resurgent run. That’s to say nothing of Nas’ status within hip hop. However, the last few years have seen the fabled rapper get the mainstream acknowledgment his career deserves, winning his first grammy-award in 2021 for King’s Disease.

    Nas releases his 16th studio album Magic
    Magic 2 is Nas’ 5th collaborative project with Hit-Boy in the last 3 years

    Magic 2: Nas and Hit-Boy Continue to Create

    In like manner, Magic 2 sees Nas’ continue his career victory lap. The 11-track album is another collaborative effort with now-frequent cohort Hit-Boy. This latest release is the duo’s fifth combined effort in the last 3 years, beginning with King’s Disease. Short and succinct, the album’s only two features — 50 Cent and 21 Savage — showcase Nas’ range in the current hip hop landscape.

    Notably, burying the hatchet with a former rival and fellow Queens native in 50 Cent on “Office Hours.” The two rap legends last worked together in 2002, with Nas featuring on two songs on 50 Cent’s mixtape Guess Who’s Back? In like manner, Nas exchanges bars with one of contemporary rap’s hottest stars in 21 Savage on the album outro “One Mic, One Gun.” In effect demonstrating the versatility in cadences and flows during this latest Hit-Boy run.

    All in all, the grammy-winning producer has been instrumental in Nas fortifying his legacy. Despite his icon status and classic albums, the Queensbridge native has maintained a reputation for not picking the best beats. Together with Hit-Boy Nas has gone a long way towards shedding the skin of being another older rapper. With a healthy mix of contemporary sounds and boom bap records Magic 2 sees Nas and Hit-Boy continue to create more well… Magic.

  • Clipse Duo Pusha T and No Malice to Headline Genius’ IQ/BBQ

    After teasing their return at Pharell’s Louis Vuitton Fashion Show, legendary rap brothers Pusha T and No Malice — known as Clipse — will continue their resurgence with a headlining performance at Genius’ IQ/BBQ. Presented in partnership with Infiniti, Paco Rabanne, Patron El Alto, and Paramount+ with Showtime’s The Chi, the all-day event takes place on August 19 at Knockdown Center in Queens, N.Y., and will feature live performances from some of the hottest names in hip-hop, including the platinum-selling duo.

    Clipse duo Pusha T and No Malice will be performing at Genius' IQ/BBQ

    In addition to the show, IQ/BBQ will feature experiences like the So Fresh, So Clean Shop from Paco Rabanne 1M, an art installation from Infinity featuring the new QX60, a VIP “Genius Lounge” presented by Patrón El Alto, and a Rap Cafeteria filled with lyric-inspired dishes from local NYC food vendors – presented by Showtime Original Series, The Chi.

    Clipse Making a Comeback

    With this performance, The Clipse continue their teased reunion. After previewing their first joint-record in 14 years the Virginia-bred brothers have garnered fans attention with the teased record. Their last collab was the outro to Pusha T’s most recent album It’s Almost Dry, titled “I Pray for You.”

    Moreover, since their days as The Clipse, the duo have been part of some of hip hop’s most iconic records. Notably, records like “Grindin’,” “Mr. Me Too,” and “What Happened to That Boy.” Since their last album — 2009’s Til The Casket Drops — Pusha T has embarked on a successful solo career that has resulted in several Grammy nominations and recognition as one of the best rappers ever. Meanwhile, No Malice left the music industry to become a pastor making sporadic feature appearances since, including an album cut on Ye’s 2019 release Jesus Is King.

    Tickets for the Genius IQ/BBQ are free and are now available at dice.fm, while the event maintains a 21+ age restriction.