Papoose names himself King of New York
Papoose Gives Himself the King of New York Title With Bold Mixtape Drop
Brooklyn’s own Papoose is setting the streets on fire with a bold proclamation: he is the undisputed King of New York. Known for his complex lyrics and unrelenting presence in the mixtape circuit, Papoose has drawn a line in the sand with his latest mixtape titled King of New York. In a no-holds-barred interview with Doggie Diamonds for Forbez DVD, the veteran lyricist doubles down on his claim while outlining his case for the crown.
A Proclamation Born From Purpose
Speaking from the streets of Brooklyn, Papoose pulls no punches. He states emphatically that the time for claiming the throne is now. “It’s 2011, that’s knowledge-knowledge. That’s the year of the king,” he explains, referencing the numerology of the year to justify his timing. “I’m the king of New York. I couldn’t give less of a f*** how anybody feels about it.”
Papoose is not simply relying on braggadocio. His career has spanned over a decade, stacked with acclaimed mixtapes and street anthems. Unlike artists who come and go with a single hit, Papoose has built his name off consistency, cultural commentary, and intricate lyricism.
Mixtape Momentum: King of New York
His newly released King of New York mixtape is both a statement and a challenge. Featuring freestyles over hits like French Montana‘s “Shot Caller” and original content that displays his signature storytelling, the project is designed to remind listeners why Papoose remains a lyrical force. Pap isn’t just making noise for attention; he wants to stimulate thought and elevate the culture.
“There’s nobody more versatile,” he says. “I did a song about Sean Bell. I made a record about Hurricane Katrina. I’m teaching brothers in prison how to beat their cases. And I’m still dropping joints like ‘N****s Know’.”
Not Just Punchlines: Papoose as a Cultural Voice
One of the strongest components of Papoose’s argument is his cultural contribution. Unlike many rappers whose lyrics revolve solely around materialism, Pap has routinely released music addressing societal issues. Whether it was the aftermath of Hurricane Katrina or the tragic police killing of Sean Bell, Papoose stepped up to speak for the voiceless.
“Music and art should reflect what’s going on in the world,” he insists. “Back in the day, when you heard Al Green or Langston Hughes, you knew what time it was. That’s what real artists do.”
Twitter Sparks the Conversation
Earlier this week, Papoose lit up Twitter with a simple but powerful statement: “I’m the only king of new york city #kingofnytalk.” The tweet caused a stir among hip-hop fans and critics, some of whom questioned his claim. But Pap welcomed the backlash, asserting that it only proves the impact of his words.
“Sometimes people get bothered by the truth,” he tells Doggie Diamonds. “But the truth stands still. The people know what’s real.”
Responding to Critics and Staying Focused
Pap is aware of the criticism that often follows him, particularly the long delay of his debut album The Nacirema Dream. While he signed a $1.5 million deal with Jive Records in 2006, the album has yet to be officially released.
“That doesn’t define me,” he says. “I’ve dropped over a thousand songs. My music’s in the streets. That label stuff—that’s politics. I’m still here, still consistent.”
He further revealed during the interview that the album The Nacirema Dream is not a lost cause. In fact, Pap says the distribution deal is in place, and the marketing dollars are ready. “Get ready,” he warns. “Y’all know what I bring to the table.”
Support from the Streets and YouTube Love
While mainstream blogs and forums sometimes question his place in hip-hop, Papoose says the streets tell a different story. He cites YouTube as an example of genuine fan feedback.
“People are more honest there. They’re watching and commenting without thinking about who’s reading. I get love there because they feel the music,” he says.
A History Rooted in Authenticity
Born Shamele Mackie in Brooklyn to Liberian and Native American parents, Papoose’s journey started early. He first grabbed public attention with an appearance on Kool G Rap‘s Roots of Evil in 1998 and later caught fire with his underground hit “Alphabetical Slaughter.”
Despite the hurdles in the industry, including label setbacks and personal sacrifices, Pap has stayed committed to his craft. He gained further national attention after appearing on the “Touch It” remix with Busta Rhymes and has dropped over 20 mixtapes in the span of seven years.
Even during tough times—including his attempted prison wedding to rapper Remy Ma, and his six-month visiting ban after smuggling a handcuff key—Papoose remained focused on his career and values.
The Legacy of The Nacirema Dream
Although the album has yet to see daylight, The Nacirema Dream holds legendary status in the underground scene. According to Papoose, the project will reflect not just his lyrical prowess but his ideology.
“Honor before money, that’s my label and my motto,” he says. “I’m building something that lasts longer than any chart placement.”
Conclusion: A King Moves With Intent
Papoose’s declaration as King of New York isn’t merely about ego—it’s about legacy, responsibility, and unmatched lyrical ability. In a landscape flooded with one-hit wonders and gimmicks, Papoose stands as a beacon for substance. His mixtape King of New York is more than a project; it’s a manifesto for those tired of the repetition in rap.
His claim is backed by a history of consistency, a library of politically and socially relevant songs, and a fanbase that stretches from prison yards to YouTube comment sections. As mainstream outlets debate his place, the streets already know: Papoose has never left, and he’s only sharpening his sword.
Whether or not fans and critics agree with his royal claim, there’s no denying that Papoose has made his presence felt in 2011. And if he has anything to say about it, he’s not giving up that crown anytime soon.
With The Nacirema Dream on the horizon and King of New York in the streets, Papoose is once again proving that hip-hop’s heart still beats in Brooklyn.