On this day in 2001, the self-crowned “King of New York” released his fifth studio LP, Stillmatic. During Nas’s musical absence the power in New York had shifted and Jay-Z had stepped up and eclipsed Nas as the best MC in New York. The title itself shows that Nas had a chip on his shoulder and used this album to show the world who was STILL the best rapper alive out of the five boroughs.
Nas and Jay-Z were in the midst of one of the biggest feuds in rap. With this being the theme of the time, the lyrics of this album carried a malicious flavor. This new side to Nas’ sound is most prominent on the track Ether that is one of the most straightforward diss tracks in rap. The disrespect that was put on on this record makes the Drake/Meek Mill conflict look like a childhood dispute. Throughout the album Nas continues to showcase his no-holds-barred style of lyricism, dropping names of those he feels have disrespected him left and right and setting records straight about his spot in Hip Hop. With every bar, you can feel Nas attacking the game and making sure his place is felt by everyone listening. This album is also a lot less openly righteous than his previous work. Nas is a righteous individual so there will always be undertones of positivity in his work, but on this album, the focus was on the cold and darker side to Hip Hop and New York City in general.
Released on Columbia Records, the album debuted at #8 on the Billboard 200 chart and sold 342,600 albums in its first week. Within a month, the album claimed the #5 spot and was certified platinum on January 16, 2002. By July 2008, the album had sold 2,026,000 copies. This “comeback” album received majority positive reviews from critics. Nas was praised by critics from Rolling Stone, AllMusic and The Source, who gave this album the coveted 5 Mics.
On this day in 2001, the self-crowned “King of New York” released his fifth studio LP, Stillmatic. During Nas’s musical absence the power in New York had shifted and Jay-Z had stepped up and eclipsed Nas as the best MC in New York. The title itself shows that Nas had a chip on his shoulder and used this album to show the world who was STILL the best rapper alive out of the five boroughs.
Nas and Jay-Z were in the midst of one of the biggest feuds in rap. With this being the theme of the time, the lyrics of this album carried a malicious flavor. This new side to Nas’ sound is most prominent on the track Ether that is one of the most straightforward diss tracks in rap. The disrespect that was put on on this record makes the Drake/Meek Mill conflict look like a childhood dispute. Throughout the album Nas continues to showcase his no-holds-barred style of lyricism, dropping names of those he feels have disrespected him left and right and setting records straight about his spot in Hip Hop. With every bar, you can feel Nas attacking the game and making sure his place is felt by everyone listening. This album is also a lot less openly righteous than his previous work. Nas is a righteous individual so there will always be undertones of positivity in his work, but on this album, the focus was on the cold and darker side to Hip Hop and New York City in general.
Released on Columbia Records, the album debuted at #8 on the Billboard 200 chart and sold 342,600 albums in its first week. Within a month, the album claimed the #5 spot and was certified platinum on January 16, 2002. By July 2008, the album had sold 2,026,000 copies. This “comeback” album received majority positive reviews from critics. Nas was praised by critics from Rolling Stone, AllMusic and The Source, who gave this album the coveted 5 Mics.
On this day in 2001, the self-crowned “King of New York” released his fifth studio LP, Stillmatic. During Nas’ musical absence the power in New York had shifted and Jay-Z had stepped up and eclipsed Nas as the best MC in New York. The title itself shows that Nas had a chip on his shoulder and used this album to show the world who was STILL the best rapper alive out of the five boroughs.
Nas and Jay-Z were in the midst of one of the biggest feuds in rap. With this being the theme of the time, the lyrics of this album carried a malicious flavor. This new side to Nas’ sound is most prominent on the track Ether that is one of the most straightforward diss tracks in rap. The disrespect that was put on on this record makes the Drake/Meek Mill conflict look like a childhood dispute. Throughout the album Nas continues to showcase his no-holds-barred style of lyricism, dropping names of those he feels have disrespected him left and right and setting records straight about his spot in Hip Hop. With every bar, you can feel Nas attacking the game and making sure his place is felt by everyone listening. This album is also a lot less openly righteous than his previous work. Nas is a righteous individual so there will always be undertones of positivity in his work, but on this album, the focus was on the cold and darker side to Hip Hop and New York City in general.
Released on Columbia Records, the album debuted at #8 on the Billboard 200 chart and sold 342,600 albums in its first week. Within a month, the album claimed the #5 spot and was certified platinum on January 16, 2002. By July 2008, the album had sold 2,026,000 copies. This “comeback” album received majority positive reviews from critics. Nas was praised by critics from Rolling Stone, AllMusic and The Source, who gave this album the coveted 5 Mics.
After this project, Nas went on to put out five full-length studio albums, a compilation album and a collaborative project with Damian Marley. Today, Nas is a spokesperson for Hennessy and still tours performing hits from one of his many classic albums. He has grown to be a titan of the Hip Hop industry and a lot of this success wouldn’t have been possible if it wasn’t for the pop culture revival that was Stillmatic.
One of the greatest debates in Hip-Hop history is who won the JAY-Z and Nas beef. Many will point to “Ether” and state that gave Esco the victory, and perhaps Hov will agree?
On the 18th anniversary of Jay’s The Blueprint album, Def Jam published an oral history of the album and its impact and pulled in Lenny S for insight. During his section, Kodak Lens detailed not only how he felt about the moment happening while knowing Jay was the best, but also that Hov was accepting of the percieved L.
“The Blueprint showed me how selfless Jay was. This was the time when ‘Takeover’ was out and ‘Ether’ and everything. The energy was kind of crazy,” Lenny S. said. “I was so mad, I wanted to cry… I was angry. I knew Jay is the best, Jay’s the best rapper, he’s the best businessman, he’s the best entrepreneur. In my heart, I felt he was the best.”
After hitting both Hov and Kareem “Biggs” Burke on a two-way pager to express his feelings, Jay reached out to Lenny via phone.
“Jay’s on the phone with me, convincing me that this has to happen in life. We have to go through ups and downs… He just spent 15 minutes convincing me why this was necessary and that it’s alright. This man just took a loss. A public loss to a rival rapper. And he’s convincing me… of like why I need to be OK with this and let it go and not take it to heart… Jay took the time when he could have been selfish, or pissed off, and took the time to school me. And that’s from The Blueprint.”
The Blueprint would go on to be one of the best Hip-Hop albums in history, Jay’s “Loss” would be in the history books but followed by man career wins including eventual peace and friendship with Nas.
Last year, Rap fans witnessed one of the most personal and ruthless lyrical exchanges in the mainstream. Pusha-T revived his beef with Drake on a large scale with “Infrared.” Within hours of the DAYTONA album-closer, Drake responded with “Duppy Freestyle.” That track mentioned Pusha’s then-fiancee (now his wife), Virginia Williams. That inclusion prompted Push’ to release “The Story Of Adidon,” a song that outed Drake as a “deadbeat dad,” prematurely revealed his multi-million Adidas deal, and verbally attacked his parents. As Drake would later tell Lebron James, the song crossed many lines. One of them was making light of producer Noah “40” Shebib’s life-threatening multiple sclerosis. Push’s lyrics suggested that the OVO leader may be perishing soon.
“We thrive off of competitive nature. Rap purists and people who just love confrontation love to say, ‘Man, there’s no rules in this sh*t.’ But there are f*cking rules in this sh*t,” Drake exclaimed last year as a guest on The Shop. “I study Rap [competition] for a living. Now when you mention defenseless people who are sick in the hospital that passed away, that really sent me to a place that I just believed then—and believe now that there’s just a price that you have to pay for that. It’s over. Someone’s gonna f*ckin’ punch you in the f*ckin’ face. The sh*t’s done; the event’s over. I wanted to do other things; I didn’t want to further your reputation or your career by rapping back at you and having this exchange.”
Large Professor is an artist who has avoided controversy throughout most of his 30-year-career. Apart from a few jabs at his former Main Source band-mates on A Tribe Called Quest’s “Keep It Rollin’,” the Queens, New Yorker has kept things low-profile and peaceful. However, in speaking with Vlad TV, he details the original, unreleased version of Nas’ 2001 song “Ether.” The Extra P reveals that for the final version, Nas pulled back on some bars that may have crossed some very personal and tender lines.
“I was there when Swizz [Beatz] did the original ‘Ether.’ Swizz did the original [version]. That’s the one [Nas] originally rhymed over,” Large Professor says at 1:00. “It was faster, and it was just a lot more noisier.” However, the sonic energy to the song was reportedly not a fit with Nas’ album theme. “I know Nas was trying to get a point [across]. He had a real stillness. That what’s ill is that that Stillmatic–there be deeper meanings to this sh*t. ‘Cause he was very still. You could hear, like ‘One Mic’ his rhyme is still. Then he breaks [into the crescendo]. People, they’re just thinking it’s a name [that pays homage to Illmatic]. Nas is like that, where he’ll take a word and build on that sh*t, and act on it.” Large Professor produced “You’re da Man” and “Rewind” on the platinum-certified album released at the end of 2001.
Vlad asks if the Swizz Beatz version of “Ether” featured the same lyrics Nas used on the album version. “[There were] little variations. I’m sure you heard of the ‘Dame Dash/Plane crash’ and all that sh*t with the rhymes and sh*t? [He basically said], I’m sorry Aaliyah; I’m sorry it was you in the plane crash, it should’ve been Jay and Dame Dash.” Vlad admits that he was unaware of this history. Large Professor shrugs that he’s hesitant to discuss any further, given that Nas and JAY-Z made peace in 2005. “Nah, it was a bunch of ’em—I don’t even wanna, ’cause they went through that. It was good.” DJ Vlad asks again about the carryover from the first version of the song. “He took the crux of that first one he did with Swizz and did a lil’ re-edit with the Ron Browz [produced] joint.”
“Ether” released in early December, approximately two weeks before Stillmatic. Aaliyah had died in a plane crash in the Bahamas less than four months earlier. At the time of her death, the 22-year-old singer was dating Damon “Dame” Dash, Jay’s manager who also co-founded Roc-A-Fella Records with the rapper as well as Kareem “Biggs” Burke. Nas had worked with Aaliyah on 1999’s “You Won’t See Me Tonight.”
As the discussion continues, Large Professor offers some commentary to the 2001 back-and-forth. “I didn’t like that sh*t at all, the ‘Super Ugly,’” he says of Jay’s response to “Ether.” Comparing “Ether” to Jay’s Blueprint inclusion, Extra P says that “The Takeover” is superior. Notably, he points to Hip-Hop pillar in breakin’, suggesting that Kanye West’s production is better at moving bodies than Ron Browz’ slow and dramatic beat.
The mother of one of Nas’ children, Carmen Bryan, was also involved. Jay boasted having a romantic affair with her in the disses, and leaving condoms in the baby-seat. Large Professor, who first introduced Nas and Carmen, calls that situation “messy” after Vlad plays a clip from his 2017 interview with her.
Vlad then mentions the 2005 armistice between the two rappers who had worked together alongside Shaquille O’Neal in 1996 on the mixtape version of “No Love Lost.” “I loved it, because I know the origin,” says the MC/producer/DJ. “Like, we were all on that tour [as JAY-Z rapped about on ‘Takeover’]. We were all humble at that time. Jay was on his mischievous street sh*t. That was the thing that was good: when Jay came out and he was talking that criminal mischief sh*t, I had actually seen inklings of that sh*t while we were on tour. Like him and Irv [Gotti] and them would dip off and sh*t, and then they’d come back and they’d have bags [and other luxury items]. So all that ‘What you doin’ on Pico with Frederico‘ sh*t was actually happening.” He says that it reminded him of Nas, who he had mentored since the demo record days. “To see them come through, their f*ckin’ backgrounds are so similar. It’s almost the same f*ckin’ story. Dogs, somebody gonna have to figure this sh*t out, ’cause y’all working together is better than y’all workin’ apart.”
Last year, Rap fans witnessed one of the most personal and ruthless lyrical exchanges in the mainstream. Pusha-T revived his beef with Drake on a large scale with “Infrared.” Within hours of the DAYTONA album-closer, Drake responded with “Duppy Freestyle.” That track mentioned Pusha’s then-fiancee (now his wife), Virginia Williams. That inclusion prompted Push’ to release “The Story Of Adidon,” a song that outed Drake as a “deadbeat dad,” prematurely revealed his multi-million Adidas deal, and verbally attacked his parents. As Drake would later tell Lebron James, the song crossed many lines. One of them was making light of producer Noah “40” Shebib’s life-threatening multiple sclerosis. Push’s lyrics suggested that the OVO leader may be perishing soon.
“We thrive off of competitive nature. Rap purists and people who just love confrontation love to say, ‘Man, there’s no rules in this sh*t.’ But there are f*cking rules in this sh*t,” Drake exclaimed last year as a guest on The Shop. “I study Rap [competition] for a living. Now when you mention defenseless people who are sick in the hospital that passed away, that really sent me to a place that I just believed then—and believe now that there’s just a price that you have to pay for that. It’s over. Someone’s gonna f*ckin’ punch you in the f*ckin’ face. The sh*t’s done; the event’s over. I wanted to do other things; I didn’t want to further your reputation or your career by rapping back at you and having this exchange.”
Large Professor is an artist who has avoided controversy throughout most of his 30-year-career. Apart from a few jabs at his former Main Source band-mates on A Tribe Called Quest’s “Keep It Rollin’,” the Queens, New Yorker has kept things low-profile and peaceful. However, in speaking with Vlad TV, he details the original, unreleased version of Nas’ 2001 song “Ether.” The Extra P reveals that for the final version, Nas pulled back on some bars that may have crossed some very personal and tender lines.
“I was there when Swizz [Beatz] did the original ‘Ether.’ Swizz did the original [version]. That’s the one [Nas] originally rhymed over,” Large Professor says at 1:00. “It was faster, and it was just a lot more noisier.” However, the sonic energy to the song was reportedly not a fit with Nas’ album theme. “I know Nas was trying to get a point [across]. He had a real stillness. That what’s ill is that that Stillmatic–there be deeper meanings to this sh*t. ‘Cause he was very still. You could hear, like ‘One Mic’ his rhyme is still. Then he breaks [into the crescendo]. People, they’re just thinking it’s a name [that pays homage to Illmatic]. Nas is like that, where he’ll take a word and build on that sh*t, and act on it.” Large Professor produced “You’re da Man” and “Rewind” on the platinum-certified album released at the end of 2001.
Vlad asks if the Swizz Beatz version of “Ether” featured the same lyrics Nas used on the album version. “[There were] little variations. I’m sure you heard of the ‘Dame Dash/Plane crash’ and all that sh*t with the rhymes and sh*t? [He basically said], I’m sorry Aaliyah; I’m sorry it was you in the plane crash, it should’ve been Jay and Dame Dash.” Vlad admits that he was unaware of this history. Large Professor shrugs that he’s hesitant to discuss any further, given that Nas and JAY-Z made peace in 2005. “Nah, it was a bunch of ’em—I don’t even wanna, ’cause they went through that. It was good.” DJ Vlad asks again about the carryover from the first version of the song. “He took the crux of that first one he did with Swizz and did a lil’ re-edit with the Ron Browz [produced] joint.”
“Ether” released in early December, approximately two weeks before Stillmatic. Aaliyah had died in a plane crash in the Bahamas less than four months earlier. At the time of her death, the 22-year-old singer was dating Damon “Dame” Dash, Jay’s manager who also co-founded Roc-A-Fella Records with the rapper as well as Kareem “Biggs” Burke. Nas had worked with Aaliyah on 1999’s “You Won’t See Me Tonight.”
As the discussion continues, Large Professor offers some commentary to the 2001 back-and-forth. “I didn’t like that sh*t at all, the ‘Super Ugly,’” he says of Jay’s response to “Ether.” Comparing “Ether” to Jay’s Blueprint inclusion, Extra P says that “The Takeover” is superior. Notably, he points to Hip-Hop pillar in breakin’, suggesting that Kanye West’s production is better at moving bodies than Ron Browz’ slow and dramatic beat.
The mother of one of Nas’ children, Carmen Bryan, was also involved. Jay boasted having a romantic affair with her in the disses, and leaving condoms in the baby-seat. Large Professor, who first introduced Nas and Carmen, calls that situation “messy” after Vlad plays a clip from his 2017 interview with her.
Vlad then mentions the 2005 armistice between the two rappers who had worked together alongside Shaquille O’Neal in 1996 on the mixtape version of “No Love Lost.” “I loved it, because I know the origin,” says the MC/producer/DJ. “Like, we were all on that tour [as JAY-Z rapped about on ‘Takeover’]. We were all humble at that time. Jay was on his mischievous street sh*t. That was the thing that was good: when Jay came out and he was talking that criminal mischief sh*t, I had actually seen inklings of that sh*t while we were on tour. Like him and Irv [Gotti] and them would dip off and sh*t, and then they’d come back and they’d have bags [and other luxury items]. So all that ‘What you doin’ on Pico with Frederico‘ sh*t was actually happening.” He says that it reminded him of Nas, who he had mentored since the demo record days. “To see them come through, their f*ckin’ backgrounds are so similar. It’s almost the same f*ckin’ story. Dogs, somebody gonna have to figure this sh*t out, ’cause y’all working together is better than y’all workin’ apart.”
