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Nas Addresses His Doja Cat Controversy: ‘People Do It All The Time’

Getty Image ‘I don’t really know the world that these stars live in anymore,’ he admits. …

In a new interview with NME, Nas addresses the controversy that followed him name-checking Doja Cat on his comeback single, “Ultra Black.” He previously spoke on the line itself, claiming that he didn’t feel it was a diss during an interview with Power 106, but during this new interview, he talks about being caught off-guard by the controversy and how out-of-touch he feels with modern social media.

“Well, I’ve been away, so, of course, I mention someone’s name that’s popular and people are gonna talk about it,” he replies. “I hear people do it all the time but no one makes a big deal of it. Maybe it’s because I don’t put out records a lot, so they’re like, ‘Whoa!’ I don’t really know the world that these stars live in anymore. I’m rapping the same way I did when I was on the block, but now there’s a new world and what I say can take off with social media and I can’t do anything about it.”

“Ultra Black” drew a backlash from fans due to its line referencing Doja Cat’s recent chat room scandal. “We going ultra-Black, the opposite of Doja Cat,” he rhymes. Fans interpreted this as a derogatory comment toward the “Say So” singer, who had just been accused of participating in a white supremacist chat room at the same time as an old track of hers titled “Dindu” — a slur against Black people — resurfaced online. Doja apologized for the song but also defended her chat friends from accusations of racism.

Doja Cat herself responded to Nas’ line a couple of times since. Initially, she sarcastically told fans during a live stream “I am so offended and upset about this song” before noting that her anticipated single “N****s Ain’t Sh*t” is an unintentional acronym for “Nas.” Ultimately, she said that she will never beef with Nas — however, I propose as a counterpoint: “N****s Ain’t Sh*t” remix, featuring Nas. Think about it, guys.

Check out Nas’ full NME interview here.

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Artist Spotlight

The trapheaux gracefully glides over in new release “Marble Floors”

Trapheauxly

Trapheauxly’s latest release, “Marble Floors,” is a smooth, seductive single that combines clean, complex rap verses with melodic R&B. The song’s production, soulful vocal harmonies, and steady rhythmic pulse create a luxurious yet emotionally grounded atmosphere. All of these elements work together to create this atmosphere.

The most impressive aspect of it is the way it shifts from a catchy melodic hook to a rapid-fire delivery of the lyrics. One moment, “Marble Floors” is silky smooth, and the next, it is razor sharp. This contrast is what gives the musical its identity.

When it comes to lyrical concerns of intimacy, devotion, and elevated aesthetics, the image of marble floors appears, time and time again, as a symbol of elegance and emotional weight. Trapheauxly is a polished package that combines style, substance, and value that cannot be denied in terms of replay value.

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NIHLNØTHING unleashes increased tides on new release “ocean” Power

NIHLNØTHING

NIHLNØTHING’s latest release, “Ocean” is a powerful, immersive single that defies classification as heavy music. The track sounds huge, punishing, and emotionally complex, as the title promises, drawing on post-metal, alternative metal, sludge, groove metal, metalcore, and deathcore.

A sense of depth makes “ocean” appealing. The song balances atmosphere and intensity like a violent current under calm waters. This track has towering sonic weight and textured melodic darkness, suggesting it can go from hypnotic tension to explosive release in a heartbeat.

Genre DNA enables NIHLNØTHING to create something expansive. It has sludge, groove, metalcore urgency, and a post-metal mood that’s probably more than aggression. NIHLNØTHING excels in contrasting crushing weight with atmosphere, chaos with control, and brutality with reflection. Balance distinguishes loud from powerful music.

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