Listen to Shane Eagle and Nasty C’s Collaboration ‘PARIS’

Nasty C and Shane Eagle's highly anticipated song is here.

Last week when Shane Eagle shared the tracklist for his upcoming mixtape, one track that caught many South African hip-hop fans' attention was "PARIS." The song features Nasty C. Shane and Nasty are two of the country's (and continent's) most popular and potent lyricists.


A song by the two of them was always going to be a notable event. "PARIS" is the latest song to be released from Shane's upcoming mixtape Dark Moon Flower. And, the song doesn't disappoint. Both emcees went into it knowing all ears will be on them, and they rapped their lungs out.

Shane kicks off the song, rapping about his life changing from the success he's seen in the last few years. He raps:

"I flew my mama to Paris/ She used to stay on the street/ I bought myself a new chain, it cost like 40 a piece/ I haven't been home in a while, so I spent a crib on my teeth"

Nasty C is equally cold in his verse, rapping about loving his fans, but asking for his time alone to deal with his weed. An excerpt:

"Me and these rappers ain't really friends/ I don't be taking their calls/ I make 'em talk to the middle man, he won't pass their message at all/ You know I got love for my real fans, but I'm cursing them off of my yard/ I can't be signing no autograph, I got kush in my garage"

"PARIS" is what rappity rap sounds like in the trap era—the song is just raps and and a beat, no fancy hook or melodies.

"PARIS" is the second song to be released from Dark Moon Flower, after the lead single "BLACK," which the young emcee released last week accompanied by visuals. The mixtape is out on October 16.

Stream "PARIS" below:


Shane Eagle PARIS ft Nasty C www.youtube.com

Music
Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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