Things I’d Ask Nas

OR What left first, good Hiphop artists or Hiphop journalism?

How would you describe your trademark flow or flows? Did these come naturally or derive from a conscious effort of development and delivery? Do you have a mental catalogue of flows or do you just roll with what comes naturally to the beat you’re working with?

Kool Mo Dee’s book There’s A God On The Mic offers a scoring system to determine the greatest MCs, including the skills areas of originality, concepts, vocabulary, flow, body of work, social impact and battle skills. How do you feel you fare against these and what does a great rapper consist of to you?

Various songs of yours reference books of rhymes and you spoke of putting pen to pad, surrounded by archival Hiphop content, to develop your contributions to The Get Down TV series. Do you always have a live rhyme book? If so, where is it and what’s a snippet of the latest entry? Do you typically write to beats?

MTV’s BioRhythm suggested you spent time as a child studying books and dictionaries to learn new words. Is this true and how focused are you on vocabulary choice when you’re developing raps, as opposed to simply rolling with what comes to you?

Away from beats and recording rap songs, do you ever write poetry and would you ever consider releasing poetry in the written form? Are there any poets and writers you’re particularly fond of reading?

The internet enjoyed thinking you were secretly rapper Your Old Droog for a while. You later questioned why you’d work under an alias as you want people to hear and know your art. Are you ever burdened by who Nas is to people and what’s expected of you – and tempted by the freedom anonymity offers?

Bob Dylan went electric. Andre 3000 swapped the mic for flute. What would you be interested in exploring musically, if anything, from a lyrical and/or production perspective, beyond the typical lanes you’re known for?

Three Stacks has spoken a lot about his move away from rapping and that rapping at his age doesn’t feel right. Meanwhile, you marked your fifth decade with two celebrated three-album runs that many people rank amongst your best. Do you think there’s an age limit to rapping or that you’ll ever stop?

You spoke of finding and making the most of your stride during those collaborative Kings Disease and Magic series’ with Hit-Boy. Conversely, have you been conscious of being short of your best in the past?

You’ve lived and shared a lifetime of creativity, dedicated to the art form of rap, seemingly open to and exploring wherever it might go next. Is there anything you explicitly do to inspire and aid this practice – and what advice can you offer people in creative fields, to find their flow?

What does Lauryn Hill mean to you as an artist and friend? Have you ever discussed her releasing a second solo record or working together on more than a one off single?

How based on true events are the Magic 3 songs ‘Based on True Events’ and ‘Based on True Events, Pt. 2’?

Your label Mass Appeal’s signing of a Run The Jewels project was really enjoyed by enthusiasts of real, underground Hiphop. How much are you locked in to up and coming rappers (not that RTJ were), the underground scene and rap genre away from the charts?

Your known business ventures are very tech heavy. Do you spend much time on the internet listening to and reading about rap? What’s it like knowing about and browsing the level of fandom surrounding your name and art?

Some UK heads might see a similarity between how you arrived in rap at a young age, providing something authentic, fresh and superior – and the ascent of the rap sub genre Grime. Are you familiar with this and the Drill scene’s past or present and what artists or tracks do you like?

What do you recall of your 2005 show at Brixton Academy, London, halted by gunfire? UK artist Mike Skinner wrote self-depricatingly in his autobiography that in the panic of the moment, he tried reassuring you that ‘they’re just plastic bullets’. Do you recollect this and know much of Skinner’s work?

In a 2010s interview, when asked what rap artists you were really enjoying, you declined to name them because you’d experienced being called the new this and that, which creates a level of expectation and pressure. It felt like you had a name on the tip of your tongue. Was it Kendrick Lamar?

What was your reaction to Kendrick’s GNX album generally – and specifically to both him shouting you out for giving him flowers and Man At The Garden, seemingly a homage to your classic One Mic?

‘Define My Name’ with DJ Premier and the accompanying announcement of a collaborative album got fans very excited. The album was scheduled to drop in 2024 but didn’t. What’s its current status? Can you commit to it coming to fruition?

Does your celebrated past collaborations with Premier weigh heavy on the process of creating new music? To what extent are you in competition with your previous work?

Are there any albums you’re particularly proud or fond of that you feel are overlooked and overshadowed by the just stature given to Illmatic?

What album or albums do you feel merit anniversary shows/tours like those done for Illmatic and which ones would you personally enjoy doing a dedicated show/tour of?

It’s said that Stevie Wonder has multiple unreleased albums from around the time of his 70s genius streak in a vault. Are there verses in a Nas vault or books of rhymes, that you’ve banked for future use against the perfect beat or project? Can you talk specifically about some of the magic you’re holding back for the right moment?

Beginnings

Lost in different ways
they case each other out
darting eyes and fidgets
betraying the nerves inside.

Bit by bit, vetted detail
unravels mind and heart,
taking turns telling truths
as time and trust collide.

Glances turn to looks
locked and charging fast
with a magic current
firing up circuit boards.

The trip home abuzz
with eagerly sent updates
fills with quick replays
dissected by the frame.

Belly Laughter

All the lists and forms
fall away in the final hour
clearing slates for friends
and all their hysteric power.

Clinks and cackles play
in our boardroom of hearts,
trading updates big and small
from since we’ve been apart.

Uncontrollably we howl
with laughter from the gut
filling the night with joy
that slams the long day shut.

Aching ribs and damp eyes
bookend a wide smile fold
charging the strut home
with a fortune we behold.

Deep And Meaningfuls

You sit calmly and silent
following my racket
giving nods and smiles
to show you’re keeping up.

Every last thread of detail
unravels in an onslaught
I’m desperate to offload
as quickly as you say ‘Pint’.

Then it’s your turn to go.

Rounds and words flow
to our pact’s usual drill
getting everything out
to devise each other’s plan.

One of these a month
keeps it all afloat
informing the next tales
we dissect, resolve and file.

Familiar Might

There’s no agenda here in one sense.
In another it’s a given we’ll each dispense
what’s on our minds behind the day-to-day fence;
hopes and fears without brave face pretence.

And then when it’s off the chest we rest
revelling, feeling blessed in the de-stress;
a mesh of heroics, hugs and in-crowd jest.
The suppressed, addressed, allows progress.

We raise our glasses, pass the light.
We plot, we party, we own the night.
We laugh. The creasing makes things right.
The dark is charged with familiar might.

There is necessity in the excess.
Neat tidy lives need occasional mess.
Discoveries take a little digress.
Moderation prevents any regress.

Well that’s one way, tried and tested.
Truths are found in counter-suggestions.
What you get back equals investments.
Never bank on a solo assessment.

We raise our glasses, pass the light.
We plot, we party, we own the night.
We laugh. The creasing makes things right.
The dark is charged with familiar might.

We raise our glasses, pass the light.
We plot, we party, we own the night.
We laugh. The creasing makes things right.
The dark is charged with familiar might.

Belonging

It’s magic how vast whatever is out there
and here we are sitting over two tiny beers
rolling through the routines of private jokes
basking in the glory of a friend’s rich anecdote
as if nothing else matters and nothing exists
but the joy and understanding, a shared bliss
we each treasure in our different little ways
and couldn’t over-indulge with genuine praise
for the hours of fortune, giving tales and facts
these moments deserve our own blue plaques
the ever-giving and ever-grateful merry band
a magnificent microscopic scratch on the land.

Rebellion’s Pulse – A Synopsis

Via ChatGPT on a slow Boxing Day afternoon.

In the gritty urban sprawl of East London, 2024, “Rebellion’s Pulse” breathes new life into the iconic action hero figure, He-Man, for the modern age. Paul Mescal takes on the role of He-Man, a working-class hero who discovers an unexpected ally in Riff, a street-smart and fearless character portrayed by the renowned rapper Dave. Together, they face the resurgence of far-right ideologies led by Skeletor within the Conservative Party, with their unanticipated connection becoming a powerful force.

He-Man and Riff, products of a working-class background, find themselves entangled in a growing and complex connection that takes them by surprise. As they assemble a diverse team of rebels to stand against Skeletor’s oppressive influence, the film explores the evolving nature of masculinity and the transformative power of their bond.

Teela, portrayed by Jodie Comer, is a brilliant tech genius and a powerful woman challenging stereotypes with her skills and determination. Smith, played by John Simm, is a seasoned union worker bringing his blue-collar expertise to the team. Orko, portrayed by Potter Payper, is an eccentric environmental activist with a unique enthusiasm for cheesy beans on toast.

In the era of post-gentrification, where East London stands as a graveyard of empty, unnecessary skyscrapers, He-Man and Riff lead their team into action. Dave’s dynamic soundtrack adds an emotional pulse to the love story, blending grime with emotive melodies that mirror the raw energy of an East End in turmoil.

The action sequences are emotionally charged, showcasing the power of He-Man and Riff’s complex connection to overcome even the most formidable foes. Skeletor, a puppeteer of predictable culture war positions, haunts modern love with beliefs he doesn’t genuinely hold but spouts in desperation for publicity and votes, adding a layer of present day political commentary to the narrative.

As the film unfolds, “Rebellion’s Pulse” delves into issues of prejudice and discrimination, emphasizing the idea that love, even when unexpected and unfamiliar, can be a powerful force for change. In a climactic confrontation, He-Man, Riff, Teela, Smith, and Orko face Skeletor’s forces together, with their connection serving as a source of inspiration for the community and over time, nation at-large.

The movie concludes with East London celebrating its victory over Skeletor’s influence. He-Man and Riff continue as guardians of their community, grappling with the complexities of their connection and advocating for a more inclusive and compassionate future. “Rebellion’s Pulse” is a groundbreaking action film that redefines the superhero narrative, showcasing the enduring power of heroism, love, cheesy beans on toast and societal transformation in a modern context.

Angel Of Eastern Esplanade

Tin can guns
topless and bronzed
strode the bend
from Saturday song

dialling threat levels
of passers by
tote bags in hand
all boots and tie.

Waste, they thought
but wouldn’t say
judging others
against their way.

Speeding fast
he stirred a scare
with their read
of chest ink bared.

Some crossed over
turned back, slowed
at his intense focus
and sunburn glow.

He walked in road
and dropped his knees
lifting the wings
of a bird from sea.

Gently and calmly
he placed her down
on a curb of safety
as cars sped round.

With sighs of relief
judges felt no regret
of the book cover fable
they know and forget.

Cliftonville

Featured on BBC Radio Kent’s Upload on the 8th December 2022.

There’s shouting up Northdown Road.

‘Tomorrow morning. That’s it!’

Sat on a doorstep, horrorshow cold
they tangle in each other’s fits.

Passing pity gifts them a can.
Their cockles and quarrels warm.

Dawn points at the avenue home
arm in arm, unpicking the sworn.