COUNTDOWN TAKEOVER: CITYTHEKING

This week CityTheKing takes over Dynasty Radio NY's Countdown!

New York, February 4, 2025, Kim Dynasty

East New York has always produced artists who understand pressure, movement, and survival — not just in the streets, but in systems. CityTheKing comes from that lineage.

An underground independent hip hop artist and producer, CityTheKing approaches music the same way he approaches life: with curiosity, structure, and intention. Raised in a close-knit, gritty community, his sound reflects a balance between raw experience and thoughtful design. He’s drawn to hip hop’s poetic roots — storytelling with depth, emotion, and purpose — while also embracing the technology that brings ideas to life.

From writing rhymes in fourth grade to teaching himself production through Fruity Loops and Reason, CityTheKing has always been someone who figures out the buttons and pushes them until something real happens. As both an artist and a producer, he operates from two different parts of the brain — one emotional, one technical — constantly learning how to let them coexist.

In this interview, CityTheKing speaks candidly about the fragmented state of hip hop, the lack of collective energy in New York’s current scene, the impact of pay-to-play culture, and what it really takes to stay authentic in an industry that often rewards shortcuts over substance. More than anything, he offers insight — not complaints — from someone who loves the culture enough to critique it honestly.

For listeners just getting familiar with you — where are you from, and how did your environment influence your sound and creative outlook? East New York. East New York is a closely knit, gritty community. We come together and make it work. That's the energy I bring to the music.

Your name, CityTheKing, carries weight. How did you come up with it, and what does it represent to you as both an artist and a producer? I got the name City because I always knew my way around. I'm also very into urban planning: the technological side, but also the things that bring people together and how they interact with spaces.

What initially drew you to hip hop, and how did you get started making music and producing beats? Honestly, I like the poetic part of hip hop more than anything else. I was originally drawn to storytelling songs and songs with deep meanings. As a child, I was always generally creative, and I used to try to make anything I could hear or see. I learned how technology works at a young age, and I saw that I had the potential to bring anything to life if I just figured out the buttons. In fourth grade, I was already writing rhymes. I used to watch my brother make beats on Reason. Once Limewire came out and I could download Fruity Loops, there was no way I wasn't going to figure out how to make beats. I kept trying til I made some heat.

Do you remember the moment you realized hip hop was something you wanted to pursue seriously, not just creatively but professionally? I always wanted to do this.

What motivates you to keep creating, especially during times when the industry or the grind feels discouraging? Ideas always slap me. I never force it. Music is therapy by itself. I don't really need motivation. The industry can't discourage me. They do what they do. I do what I do.

As both an artist and a producer, how do those two roles influence each other when you’re making music? It's rough because I find it hard to wear both hats. One day, I'll get used to it, but I feel like they come from two different parts of my brain.

Where do you find inspiration right now — musically, sonically, or even outside of music? My inspiration is real life. I'm mostly inspired by my family, fun times, relationships, technology, history, and my own feelings.

The music industry is constantly evolving. How do you stay connected and adapt without losing your core identity? I try new things all the time. I watch a lot of videos to keep up, but I also engineer, so I hear what people are doing at all the time. Sometimes I try things that are trendy. I stick to what people like, though. I'm here to entertain.

How do you feel about the current state of hip hop overall compared to the state of hip hop in New York specifically? The current state of hip hop is in a state of confusion. Hip hop has taken so many directions at once, and different fans are here for different reasons. Hip hop has a hard time connecting with the people who want it right now. What hip-hop artists need is ways to connect with audiences who want to hear their type of music. I also don't really see a collective New York Hip Hop scene right now. New York has a million fire rappers and singers stuck in their own circles. I would love to see more collaboration between New York artists to really put our now-New York sounds on the map.

New York has historically been the birthplace of hip hop. Do you think NY is still pushing the culture forward, or has it become stagnant? Why? New York will always be pushing culture forward. We're the biggest market. Our style influences everything. If you're on in New York clubs, you're on around the world.

There’s often criticism about a lack of diversity in New York hip hop today. What’s your perspective on that issue? There is a lack of diversity in what mainstream New York radio plays. There are all types of New York rap going on, but no real platforms to expose it to high-paying audiences. A lot of New York artists are trying to go for a hit to get them out of the rabbit hole rather than being authentic. I'm guilty of it too.

As a producer, which producer do you believe has had one of the biggest influences on hip hop as a whole, and why? Kanye West enhanced the whole sound quality of hip-hop. He is definitely the most influential producer of our generation. Before that, I would say it was Swizz Beatz, Dr. Dre, DJ Premier, Rockwilder, Jus Blaze, Large Professor, Rza, Wyclef Jean, and Marley Marl. Maybe Diddy.

VERZUZ has highlighted the importance of producers and legacy. If you could put two producers against each other in a VERZUZ battle, who would you choose and why? Kanye vs Swiss Beatz because it would be a battle of two different eras, and the two on stage would be super entertaining or Dr Dre vs Diddy for my generation, that Death Row vs Bad Boy

What do you think makes a producer timeless versus trendy in today’s music landscape? Only time will tell.

In the past, we’ve talked about artist showcases and “pay-to-perform” situations. What’s your current take on showcases today? I feel like pay-to-play is why we don't have any artists charting. Why would a young artist want to go hard to make better music if someone can pay to get ahead of them? I think some things are better earned than paid for. Maybe if you need to practice, but for a serious artist, don't waste your budget.

Getting paid for performances is still a major issue for independent artists. What advice would you give artists about valuing their time and talent? Find places where your talent is needed or create your own shows and sell tickets. Venues will pay you to entertain their crowds. Get a band together, or work with some friends, and put together a routine you would pay for.

Scams and shady promoters are still common. How can artists protect themselves from being taken advantage of? Don't be thirsty. You don't need to do hundreds of events to reach your goal. You can be picky about what you go outside to. Also, no one is giving away free money online. Never send someone money or information if you (or someone you trust) never met them in person, especially if they reached out to you randomly.

Which artists have influenced your approach to songwriting, performance, or presence in hip hop? Kanye, Jay-Z, Nas, Pac, Biggie, Fab, Jada, Styles, Cam, Juelz, Lil Wayne, J Cole, Kendrick, Future, Meek Mill, Snoop, Dre, Eminem, 50 Cent, Busta Rhymes, Usher, Chris Brown, R Kelly, Murda Inc., Foxy Brown, Mary J Blige, Keshia Cole, Destiny's Child, Aaliyah, New Jack Swing in General, Missy Elliot, Ludacris, Tabou Combo, El Generál, Daddy Yankee, Kirk Franklin, Yolanda Adams, Donnie McClurklin, Damian Marley, Mavado, Vybez Kartel, Sean Paul, Jah Cure, Sizzla, Bob Marley, and Michael Jackson.

Which producers have had the biggest impact on your sound, technique, or production philosophy? Jus Blaze, DJ Premier, and RZA for how they pick obscure samples and make them into brand new songs. Kanye, Metro Boomin, Zaytoven, and Wycleff for how well they incorporate live instrumentation, great sample selection, and sound quality. Kanye, Dre, Timbaland, and Pharrell for superior sound quality.

What can we expect to see from CityTheKing in 2026, and how can people find and support you on social media? A Lot of Durgaveli. We're going to announce her project, Traffic the Album, soon. A collab project with CitytheKing and Pierre Fontaine, entirely produced by Pierre Fontaine. Still pushing Feel the Magic https://album.link/us/i/1824913452. It's been getting a lot of plays. I'm looking forward to doing at least one video from this project. Subscribe to my YouTube: youtube.com/citytheking. I post a beat or a song every day. Follow me on the gram: @citytheking 

What stands out most about CityTheKing is his clarity. He understands that today’s hip hop landscape isn’t broken — it’s overcrowded and disconnected. With too many artists fighting for limited platforms and too few spaces that truly value diversity of sound, he sees why many feel pressured to chase hits instead of honing identity. His perspective doesn’t come from bitterness, but from observation — and experience.

As a producer, his respect for legacy runs deep. Influenced by the sound-shaping brilliance of Kanye West, the grit of DJ Premier and RZA, the musicality of Wyclef, and the sonic excellence of Dre, Timbaland, and Pharrell, CityTheKing values quality, intention, and longevity over trends. To him, what makes a producer timeless can only be proven with time — not algorithms.

He’s equally firm about the business. Pay-to-perform culture, shady promoters, and empty opportunities don’t build careers — they drain them. His advice is simple but powerful: don’t be thirsty, don’t rush the process, and create spaces where your talent is actually needed. Build shows worth paying for. Entertain with purpose. Let the work speak.

Looking ahead to 2026, CityTheKing isn’t slowing down — he’s building. From continuing to push Feel the Magic, to dropping visuals, to releasing Traffic, a collaborative album with Pierre Fontaine entirely produced by Fontaine, his vision is expansive and intentional. He’s also deeply invested in the rise of Durgaveli, with her upcoming project set to be announced soon — signaling not just individual growth, but community building.

CityTheKing represents a new kind of New York creative — one who understands history, embraces technology, and believes the culture still has room to evolve if artists are willing to collaborate, innovate, and stay true.