Papoose talks "King of New York" with MTV
Papoose Declares Himself the King of New York with Bold New Mixtape
Papoose is not here for modesty. With the release of his latest mixtape, King of New York, the Brooklyn-bred MC is planting his flag firmly in the soil of New York hip-hop. The title isn’t just for show; it’s a bold proclamation, one that puts him in the conversation alongside giants like The Notorious B.I.G., Nas, and Jay-Z.
“The reason I chose that title is because I am the King of New York,” Papoose says confidently in his latest interview with MTV’s Mixtape Daily. The declaration may raise eyebrows, but for Pap, it’s not just a marketing ploy—it’s personal, it’s purposeful, and it’s long overdue.
The Meaning Behind the Mixtape Title
There’s no shyness in Papoose’s tone when he explains his reasoning. King of New York is not just a mixtape, it’s a celebration of self. “It feels good to be the king of New York, so I just wanted to celebrate myself being the king of New York,” he tells MTV. “So I figured I’d make it a self-titled mixtape.”
That kind of confidence is par for the course for Papoose, who has been making waves in New York’s underground circuit since the early 2000s. From his breakout moment on Kool G Rap’s Roots of Evil to his prolific mixtape run with DJ Kay Slay, Pap has always been about putting in the work.
Addressing the Backlash: Critics and Believers
Of course, calling oneself the King of New York comes with backlash. Social media has seen fans both embrace and challenge the claim. But Papoose is unfazed.
“The reaction was both-sided, but it was a little bit more to the good side,” he says. “A lot of my supporters, a lot of my fans reached out. And a lot of my haters reached out who disagree that I’m the king, and I just let them know that I intend on proving it.”
That mindset is central to the project. This isn’t about a title for the sake of buzz; it’s a declaration of war, a challenge to the game, and Papoose has the lyrical ammunition to back it up.
Battling Over Beats: From “Otis” to “Shot Caller”
On King of New York, Papoose doesn’t hold back. He tackles some of the biggest beats in the game, including Jay-Z and Kanye West’s “Otis” and French Montana’s street anthem “Shot Caller.”
On each track, he brings a sharp edge and deliberate aggression, showcasing the type of lyrical dexterity that’s made him a standout among purists. His verse on “Name Calling” even features vocals from his incarcerated wife, Remy Ma, who proclaims herself queen to Pap’s king. The line is iconic: “Back on the scene, crispy with cream/ I’m not the empress or princess, I’m the queen.”
Papoose follows with his own declaration: “Back on the scene, True Religion jeans/ I’m not the prince or the servant, I’m the king.”
It’s more than wordplay. It’s a message—a coronation.
A Voice for the Streets, a Heart for the People
Papoose argues that his content is what sets him apart from others vying for the same crown. In an earlier interview with Forbez DVD, he explains that many rappers are stuck in a loop of redundancy.
“Just to elaborate on that – these dudes, it’s the same thing on every record, there’s no versatility,” he says. “When Sean Bell got shot, who stepped up to the plate? It was the voice of the ghetto.”
He continues, noting his socially conscious efforts: “When Hurricane Katrina hit and [President] George Bush—and don’t say Kanye. Cause Kanye made an outburst, but I did it in song format like a real lyricist supposed to do.”
That perspective is vital to understanding the man behind the mixtape. To Papoose, being the King of New York isn’t about jewelry, club records, or Twitter followers. It’s about being a voice when the city needs one.
Mixtape Royalty: Papoose’s Legacy in the Streets
From 2004 to 2006, Papoose released over a dozen mixtapes, gaining notoriety and respect across the five boroughs. With projects like Art & War, The Underground King, and The 1.5 Million Dollar Man, he carved a lane that emphasized lyrical skill, social commentary, and underground grit.
He even signed a $1.5 million deal with Jive Records in 2006, though it ultimately didn’t yield a debut album. Still, Pap walked away with the money and his integrity intact.
And now, after years of staying prolific, his claim to the crown comes full circle.
“I’m From NY” and “Conan:” Proof in the Bars
Songs like “I’m From NY,” a gritty flip of Meek Mill’s “Ima Boss,” and “Conan,” a triumphant, in-your-face record, demonstrate Papoose’s desire to prove his status through bars, not bravado. There’s no baiting, no dissing—just straight New York rap from a seasoned MC.
“This CD is a celebration of my royalty,” he says. “I’m just feeling so good.”
The Year of the King: Papoose’s Timing Is Intentional
Why now? Why choose this moment to stake the biggest claim of his career? According to Pap, the time is perfect.
“It’s 2011, so if you know anything about yourself then you know that’s the year of the king,” he explains. “I’mma start off by saying that it’s nobody nicer than me in New York. I couldn’t give less than a fuck how a n***a feel about it.”
That bravado isn’t meant to isolate. It’s meant to awaken. It’s a statement to every artist in the city to step up and compete.
Conclusion: A Crown Earned, Not Given
Papoose knows exactly what he’s doing. By naming his mixtape King of New York, he’s put himself in the spotlight, demanded attention, and created a challenge that he fully intends to meet.
Whether fans and critics agree with the title or not, the one thing no one can deny is that Papoose has stayed consistent. He’s delivered bars, stayed true to his message, and never chased trends. In a rap world that often rewards image over impact, Papoose is building a legacy that prioritizes skill and substance.
So whether you salute him or not, Papoose is already wearing the crown. And if he has anything to say about it, that crown isn’t coming off any time soon.