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Film “Nas: Time is Illmatic,” More than Just Music

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Bay Area residents will have a brief opportunity this week to view the highly anticipated documentary, “Nas: Time is Illmatic,” which delves into the roots of rapper Nasir Jones’ 1994 debut album “Illmatic” that is widely considered one of the best hip hop albums of all time.

Thefilm will be showing at a special one-night-only nationwide screening on Thursday, Oct. 2 at the New Parkway Theater in Oakland.

As a reflection of his experiences in Queens, New York, the film underscores Nas’ childhood growing up in the Queensbridge Housing Projects, the musical influence of his father jazz musician Olu Dara, how he grew up in the hip-hop era and orchestrated the lyrically prophetic album 20 years ago.

The film was written by Erik Parker and directed by One9, both producers on the film with Anthony Saleh and big fans of the album. The idea to make “Nas: Time is Illmatic” started 10 years ago as Parker, then a music editor with Vibe Magazine, realized as he edited a feature on the tenth anniversary of the album that the story behind “Illmatic” could not be fully captured in just one feature article.

“The article came out, and it seemed like so much more to be told about it,” said Parker. “It related to us and our generation in no way that a prior album had. It let us know that somebody was able to express our thoughts in such a poetic and articulate way; it validated our experiences.”

The film features interviews with Olu Dara, Nas’ brother Jabari “Jungle” Jones, “Illmatic” producers Large Professor, Pete Rock, DJ Premier, Q-Tip, L.E.S., and other artists, including Pharrell Williams, Alicia Keys, Swizz Beatz and Busta Rhymes.

Parker and One9 started shooting interviews for the film before sending a trailer to Nas, to articulate the impact that “Illmatic” had on hip hop and urban culture. After continuing filming and sitting down with the rapper who was excited about the film, they received a grant from JustFilms with the Ford Foundation to help them complete the project.

The film, like “Illmatic,” is honest and explores the cultural and socioeconomic issues that played a part in the making of the album – such as the Queensbridge projects, the shooting of Nas’ friend, the crack epidemic and the prison system.

“Our approach was to look at the themes of the album,” said filmmaker One9, “the history of the housing projects, looking at a family torn apart and how did it affect the Jones’; how did it affect Nas. It looked at core issues and really wanted to address those issues in culture.”

In the film, Nas says, “I wanted to do ‘Illmatic’ to leave my voice, my opinions, my philosophies, my ideas in music form, in rap form as something that was proof that I was here.”

The documentary is not just for “Illmatic” fans but can be a “tool to educate and inspire anyone who watches it,” said One9.

When asked what today’s hip hop generation can take away from the film, Parker said, “Artists will take away raw passion; the ideal that someone could be honest and make art that will live beyond their own generation. What happens with great art is it expands over time.”

“We feel like it’s not just a film of music, but it connects to who we are as a culture and how we can move forward. Things that can bond us as opposed to tearing us apart,” said One9.

The New Parkway Theatre is located at 474 24th St. in Oakland. Visit http://bit.ly/1BH6rtz for a list of screenings in your area. The film will also be available on iTunes and OnDemand Oct. 3.

Books

Book Review: Something We Said: Richard Pryor, A Notorious Word, and Me

Though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

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By Terri Schlichenmeyer

Author: Elizabeth Stordeur Pryor, Copyright: c.2026, Publisher: Simon & Schuster, SRP: $29.00, Page Count: 304 pages

Sticks and stones may break my bones.

You know the rest of that childhood rhyme, and you know it’s not true: words have meaning, and they can cut like a knife. And yet, though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

The college lecture was supposed to have been about the 1850 Fugitive Slave Act.

It was supposed to be a lively discussion, but unintentionally it quickly veered off course. When a White student quoted a movie line featuring the “n-word,” the room went quiet, and Professor Elizabeth Stordeur Pryor panicked.

She’d grown up hearing that word, and seeing it, and she’d experienced the painful feelings attached to it. She knew who wrote that movie line. It was her father, Richard Pryor.

In her first few years, Pryor spent most of her time in a White world, hearing her mother’s tales of her larger-than-life father, and trying to grasp meaning in her father’s albums, peppered as they were with a word that was off-limits to her.

When she was six, she met her father for the first time. She began to visit him regularly.

It was fun at her Dad’s house; though he was sometimes moody, he taught her to fish and play dominoes. She became close with her siblings, fearful of her great-grandmother, and confused about a word that her father’s uncles threw around like a beach ball. It was a forbidden word at her mother’s house, but her father used it. Differently. Often.

The word hurt. She knew first-hand that it did.

“The word became a degrading slur that shackled all Black people together into a single, inescapable tribe,” she says.

So why was it okay for certain people to say it?

Knowing that, in the years since Richard Pryor’s accident and his death from multiple sclerosis, he’s become somewhat of a legend. It is a very satisfying thing, isn’t it? So is reading about him, especially from the viewpoint of one of his seven children. But his is not the only story you get inside “Something We Said.”

Wrapped around the life of Richard Pryor is the life of a word that straddles a line between danger and provocation, a word that author Elizabeth Stordeur Pryor refuses to say or even print. As she tells readers about her father and her loving-but-difficult relationship with him, she warily circles that word, as if it might bite. You may cringe, but she weighs it carefully, helping readers see it as a chameleon before always bringing us back to her father, his work, and his life before and after her and that word.

It’s a push-pull balance that holds readers fast, and keeps them there. It’s perfect for fans of this genre, or Richard Pryor, or of language – and it’s going to make you think. If you want a good memoir this week, one that may send you to your old album collection, “Something We Said” is rock-solid.

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Business

Sale of Coliseum to African American Developers Moves Toward Completion

The deal includes the sale of the Oakland Arena to an unidentified third-party buyer for no less than $100 million, which Bobbitt said was one of the most important aspects of the site’s future redevelopment.

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The deal includes the sale of the Oakland Arena to an unidentified third-party buyer for no less than $100 million, which Bobbitt said was one of the most important aspects of the site’s future redevelopment.

‘This is on the precipice of actually occurring,’ said Ray Bobbitt, buyers’ representative

By Post Staff

After many months of complex negotiations, the Oakland Coliseum development deal is finally nearing an agreement that will open the way for new owners – the African Americans Sports and Entertainment Group (AASEG) – to revitalize the sports complex and the Hegenberger Corridor in East Oakland.

On May 28, the Alameda County Board of Supervisors unanimously approved a non-binding agreement to dispose of the County’s portion of the complex for $115 million in a deal with AASEG, with a closing date set for June 30.

“People are seeing that this is on the precipice of actually occurring,” said Ray Bobbitt, founder of the AASEG and an East Oakland native. “People feel that this needs to happen for Oakland, for East Oakland in particular,” Bobbitt said, as reported in the East Bay Times.

The agreement would transfer ownership of the 112-acre Coliseum complex property, which was owned 50-50 by Alameda County and the City of Oakland, to Oakland Acquisition Company, which is AASEG’s real estate wing.

The County’s approval marks an important step in the sale of the property, even though concerns about environmental liability remain. Under the terms of the non-binding agreement, the county will pay $115 million to Coliseum Way Partners, the corporate entity of the Oakland Athletics that had previously purchased the county’s half of the property for $85 million.

AASEG will then pay $115 million to the County in three annual payments, with 5% annual interest paid on any outstanding balance, according to the term sheet.

AASEG already negotiated a purchase of the city’s half of the property for $125 million in 2025, awaiting the sale of the county’s half.

A strong supporter of the sale, Supervisor Nate Miley said he was not “breaking out the champagne” until the sale was final. This is not perfect, but it is good.

“It’s good because the County ends up with more money,” Miley continued. “It’s good because an African American team takes ownership of the property, and they’ve got a lot of potential in terms of what they want to do with the property.”

A remaining disagreement between Alameda County and the AASEG involves environmental concerns.

AASEG wanted a “carve-out” for environmental concerns so that it would not face liability for the release of groundwater into San Francisco Bay without a permit. Obtaining a permit could be time-consuming and expensive, requiring the need for consultants, studies, and an oversight process by the San Francisco Bay Regional Water Quality Control Board.

County supervisors unanimously supported the non-binding agreement without the carve-out, though Bobbitt said delaying or excluding the carve-out creates timing risks for the project.

“The motion is to accept the terms as presented, excluding the carve-out,” Board of Supervisors President David Haubert said. “Noting that it’s a non-binding term sheet and terms can always be discussed going forward. It’s been pointed out that that could affect the deal, timing, which we’ve been at this for nine years, but what’s a little more time?”

The deal includes the sale of the Oakland Arena to an unidentified third-party buyer for no less than $100 million, which Bobbitt said was one of the most important aspects of the site’s future redevelopment.

“The arena represents an anchor of the site,” said Babbitt. “This arena … has become a pop culture mecca, and the opportunity to enhance that and expand that is critical to the overall process.”

Speaking at the Board of Supervisors meeting, Miley explained the County’s reasoning behind some of the complex negotiations. He asked interim County Counsel Andrea Weddle:

“In layman’s term’s who’s on the hook for the environmental (cleanup)” under the current deal with the Oakland A’s?

“When the county with a former board entered in the deal with the (A’s), we took on all of the environmental obligations,” Miley said. “Since then, we’ve learned a lot more about the environmental conditions of the Coliseum.”

“If we do a deal with Coliseum Way Partners (the A’s), we remain on the hook,” she said. “If we do a deal as we’ve currently structured with OAC (AASEG), we have eliminated some or hopefully all (or) as much as we can of that liability and aligned our deal with the terms of the city.”

Bobbitt, despite his concerns, supported the nonbinding agreement. He said the public has waited nearly a decade to come to this point.

“The community support has been overwhelming,” he said. “We’ve used a lot of P-words: patience, perseverance, persistence. And we’ve just had to do it, and we understand how complex this has been.”

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Activism

Oakland Post: Week of June 10 – 16, 2026

The printed Weekly Edition of the Oakland Post: Week of June 10 – 16, 2026

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