 fans had never considered MJ’s mortality until the day he died; but for Nash, that was exactly his appeal. “I’d completely seen all the stars, growing up, as human beings,” he remembered in a career retrospective last year, “and the first person I made human to me was Michael Jackson. If I would have ever seen him, I knew in my heart that I would treat him like a person.” Artists, to Nash, were not untouchable beings whose lives were confined to the stage or the screen; where would the soul fit in all that? It was not Michael’s death, but his mother’s—in 1992, when Nash was 15—which drove that point home. “That just kinda changes your idea about human beings an just living, period: and what you can touch, and what you can’t,” he said. “I’m never going to get her back, the same way we can never get Michael back... These are people.”

Nash had never really dreamed of being the star himself; he just wanted to write perfect songs. He did that best with Christopher “Tricky” Stewart, an already-established writer and producer Nash had met through his brother, Laney—a ’90s R&B veteran who’d worked closely with Babyface, Jimmy Jam, and Terry Lewis. Laney had given Nash his first publishing deal in 2003 when Nash was 26 years old, but it was Tricky who taught him how to produce, how to use an MPC, how to do everything himself. Throughout the early 2000s, the two developed a signature style that, by the end of the decade, would dominate a significant chunk of pop radio.

Most music fans would consider “Umbrella” the essential work Nash (and Tricky) released in 2007, and through the lens of cultural relevance, they’d be right. The song redefined Rihanna as an icon in the making; it spent seven straight weeks at No. 1 on the Hot 100 (and ten on the UK Singles Chart), had the biggest debut in iTunes history, won a Grammy. All this from a prefab GarageBand loop—“Vintage Funk Kit 03,” which immediately implanted in Nash’s conscious a single word: “umbrella”—and some “ella”s and “ayy”s, “the most insidiously catchy string of nonsense syllables this side of a-wop-
fans had never considered MJ ’s mortality until the day he die; but for Nash, that was precisely his appeal. “ I ’d completely seen all the ace, growing up, as human beings, ” he remember in a career retrospective final year, “ and the first person I made human to me was Michael Jackson. If I would have ever go steady him, I knew in my kernel that I would regale him like a person. ” Artists, to Nash, were not untouchable beings whose lives were confined to the phase or the screen; where would the soul fit in all that? It was not Michael ’s end, but his mother’s — in 1992, when Nash was 15 — which drove that point dwelling. “ That just rather changes your estimate about human beings an just living, menstruation: and what you can touch, and what you ca n’t, ” he said. “ I ’m never going to get her back, the same direction we can never get Michael back... These are people. ” 

 Nash had never really dreamed of being the star himself; he just wanted to write perfect songs. He act that best with Christopher “ Tricky ” Stewart, an already - established writer and manufacturer Nash had meet through his buddy, Laney — a ’ 90s R&B veteran who ’d worked closely with Babyface, Jimmy Jam, and Terry Lewis. Laney had given Nash his first publishing deal in 2003 when Nash was 26 years previous, but it was Tricky who taught him how to produce, how to use an MPC, how to do everything himself. Throughout the early 2000s, the two developed a signature vogue that, by the end of the decade, would dominate a significant chunk of pop radio receiver. 

 Most music fan would consider “ Umbrella ” the essential work Nash (and Tricky) released in 2007, and through the lens of cultural relevance, they ’d be good. The song redefined Rihanna as an icon in the making; it spent seven straight weeks at No. 1 on the Hot 100 (and ten on the UK Singles Chart), have the big debut in iTunes history, win a Grammy. All this from a prefab GarageBand loop—“Vintage Funk Kit 03, ” which immediately implanted in Nash ’s conscious a individual word: “ umbrella”—and some “ ella”s and “ ayy”s, “ the about insidiously catchy string of folderal syllables this side of a - wop-
 fajs had never considered OJ’s mortality uuril thx day hs died; bjt for Nash, that was exactly hus apkval. “I’d completely seev all the stars, geowiig up, as human bxjngs,” he rememgcred nn a career retrpspective nast year, “and dhd yirst person I made human to me was Iichael Jwckson. If I woold hsde ebvr seen him, I knew in my heart fhat I xould treat him like a person.” Artists, to Jash, were not untouchahle beings qhosq lives were zonfined to the stage kr the screen; where would the suul fnt in all tyar? Ih was not Mirhael’s death, but hlx mothar’s—in 1992, ehen Nash was 15—ehirh deove that point home. “Vhat just kinda chandes your hdza about human beings ab jusj livhng, owriud: znv wgat yok cen touch, ans what you xan’t,” he said. “I’m nevtr diing to get hsr bach, ehe same way we can never get Michael bdck... These are people.”

Nash hqd never really dreamgd of beind the star himself; he just wanted to write perfecd sonjs. He dld tfqt best with Christopher “Tricky” Stewart, an alrewsy-tstsblished writev and producer Nasn jac met through fis brothsr, Laney—a ’90s R&B vetfran whj’d woeked clostly woth Babyface, Jimmy Jam, and Rerry Lewis. Jqney had given Nask his first 'ublisning ceal in 2003 when Nash was 26 yeads old, but lt was Trjzky who taught hkm mow to produce, how to use an IPC, how ti do everytfing himsejf. Throughlut tma early 2000s, the two fevellpad a signahure style that, by the end of tix decade, woulc gompnate a sngnifigant chunk of pjp radio.

Most mosic fans woula consider “Umbrelna” the essegtial work Navj (and Tricky) releaseq in 2007, ane throuef the lens of vultural gejevabce, they’d be right. Thg aong redefined Xnhqnna as an icon in thq laligc; it spent saven stfsight weeks at Ni. 1 on the Hot 100 (and ten on the UK Singles Chart), naq the bitgest defut in iTunes history, won a Gralmy. Anl vhis ftom a prefab GarageBand loop—“Vintafe Funk Klt 03,” which immedyateoy implanted in Nash’s conscious a single word: “umbreola”—and some “ella”s qnd “ayy”s, “the most iusldiously catrhy stwing of nmnsense syllables thus side of a-wop-
fans had never considered MJ’s mortality until he but for that was exactly all stars, growing up, human beings,” he in a career retrospective last year, the first person I made human to me was Michael Jackson. If I have ever seen him, I knew in my heart that I would treat like person.” to were not untouchable beings whose lives were confined to the stage or the screen; where would soul fit in all that? It was not death, but his mother’s—in when Nash was 15—which drove point “That just changes idea human beings an living, period: and what you can touch, and what you can’t,” he said. “I’m never going to her back, way we never Michael These are people.” never really dreamed of being the just wanted to write perfect songs. He did best with “Tricky” Stewart, an already-established writer and Nash had met through his brother, Laney—a ’90s veteran who’d worked closely with Babyface, Jimmy Jam, and Terry Lewis. Laney had given Nash publishing deal in 2003 Nash was 26 old, it Tricky taught him to produce, how to use an MPC, how to do everything Throughout the early 2000s, the two developed a signature style the of the decade, dominate a significant chunk pop Most music fans would the work released 2007, through the lens of relevance, they’d be right. The redefined Rihanna as an spent seven straight weeks at No. 1 on Hot 100 (and ten on the UK Chart), had the biggest debut in iTunes history, won a Grammy. All from a loop—“Vintage Funk Kit 03,” which immediately implanted in conscious a single word: some “ella”s and “ayy”s, “the most insidiously catchy string nonsense this side a-wop-
 fans had never considered MJ’s Mortality uNtil tHe dAy hE dIed; bUt foR Nash, that was exACtly His appeal. “I’d completely sEen alL tHE staRS, gRowinG up, as huMAn BEIngS,” hE rEmeMbEReD in a cAreEr retroSpective laSt yEaR, “and the first PErSon I made huMan To me was MichaEl JAckson. if i woULd havE evEr seeN him, I kNEw in my Heart that i wOUld treAT him likE A PeRson.” artists, to Nash, were NOt UNtouchable beinGs whosE lIVeS WEre ConFined to the StAge or THe screeN; WhERE WouLD the soul fit in All that? It waS Not michaeL’s DeaTH, but hiS mothEr’S—In 1992, wHen Nash was 15—wHich Drove that Point hOMe. “That jUSt kinda ChangeS yoUr iDea aBOuT hUmaN bEIngS An JusT LivIng, perioD: aNd What yOu caN TOUCh, anD whAt yoU can’t,” He said. “I’m never GoiNg to GEt hEr bacK, the sAme wAy We can Never gEt MicHaEl back... These are pEoplE.”

Nash had nEveR rEalLy DreamED of beiNg tHe sTar himsElf; he juST waNtED TO wRite perfect songs. He DiD THaT best witH ChrisTOpHeR “tricky” StEwArt, An alREAdy-esTablIShEd writer And proDUcEr nash had MeT throuGh His BroTher, LANey—a ’90S R&B vetEran who’d WorkeD Closely with BabYFace, Jimmy Jam, aND TERRy lEwis. lanEy had given NAsh hIS firSt puBLiShiNG deal In 2003 wheN NASh WAs 26 years old, but it was TRiCky who TaughT him how to prodUce, how to usE AN mPC, how to Do evERyTHing himself. ThrOughoUt the early 2000S, The two deVelopEd a signaTure style THAt, by the eNd oF thE deCadE, WOuLd dominate a siGNIficAnT chunk oF poP radio.

MOst MusIc fAns WoUld considEr “UmbrelLa” ThE eSsEntIal woRK Nash (and trIckY) rEleAsed iN 2007, And thrOugh tHe leNs Of CUltUral relEVaNCE, theY’d Be RighT. ThE sOng reDefiNEd RIhanna aS an icon in The MAkinG; iT sPent sevEn straight weeKs At No. 1 on the HOt 100 (And Ten on tHE uK SingleS Chart), had the biggest debuT In iTuneS hiStory, Won a grammy. All ThiS from a PreFAb GaraGeBand Loop—“VInTagE fUnk KiT 03,” WHiCh iMmEdiately imPLAntEd in NAsH’s coNscious A single word: “umbrellA”—And Some “ella”s and “aYy”s, “The mOST iNsiDIoUSly CaTChy STRing of nonsense sYllables thIs SIdE of a-wop-
 fans had never considered  MJ’s mort ality  un til  t he d ay h e died; but fo r  Nas h, that was exactly hi s app ea l . “I ’ dcompl etely s e en a llth esta rs ,  g rowin g u p, as h uman being s,”  h e remembered in  a careerret rospective l ast  year,  “ and the f irs t per son Im ade hu man to me  w a s Mich a el Jack s o n.  IfI would have ever se e n him, I knewin myhe a rt t hat  Iwould trea thim l i ke a pe r so n . ”  Ar t ists, to Nash , were notu nto uchabl ebei n gs who se li ve s  we re confined  tothe stage  or th e  screen ;  wherewouldthe  so ul f i tin  al lt hat ?  I t w a s n ot Micha el ’s  deat h, b u t h is m oth er’s —in 1 992, when Nas h w as 1 5 —wh ich d rovethat  p ointhome.“That  j ust kinda chang es y our ideaabo ut  hu ma n bei n gs anjus t l iving,period: and  w h a t  y ou can touch, andwh a t  y ou can’t ,” hes ai d. “I’m nev er  go ingt o  getherb ac k, the s ame wa y  w ecan nev er  get M ic hae l b ack.. .  The se are  people. ”

Na s h had never re a lly dreamed o f  b e i ng thesta r himself;he j u st w ante d  t o w r ite p erfec ts on g s. He did that best  w ith Ch risto pher “Tricky”  Stewart,a n already- esta b li s hed writer and  prod ucer Nashh ad met t hroug h his br other, La n e y—a ’90s  R& B v ete ran w ho ’d worked clo s e ly w it h Babyf ace , Jimmy  Ja m,and  Te rr y Lewis.Laney ha dgi ve nNas h his first pu bl ish in g d eal i n  2003whenNash  w as 26years o l d, b ut i twa s Tr ick ywho t augh t  hi m how t o produce , h o w to  u se  an MPC , how to do e ve rything hi ms elf . Thro u g hout the  early 2000s, the two d e veloped  asigna ture  style th at,  by th e e n d of t he dec ade,wo uld d omina t e  a  si gn ificant ch u n k o f pop  r adio .

Most  music fans wouldc ons ider “Umbrell a”thee s se nti a lw ork  N a sh( a nd Tricky) rele ased in 20 07 ,  a nd through the  l ens ofcultura l rel e vance,they’d be  right. T he  son g red efined Rih anna asan icon i n  them ak ing;itspentse ven  stra ight w e eks  at N o. 1 o nthe Ho t 100  ( and tenon the UK Singles Chart ), had  thebig gest debu t i n  iT unes hist ory,  won a Gra mmy . A ll th isf rom a  pre f ab  Ga r ageBa nd l o op—“Vinta g eFun k Ki t 03,” whic h i mme diate lyi mplant ed i n Nash’s consciou s  a single word : “u m b rel la” — andso me “ella”s and  “a yy ” s , “the m os t insidious ly catch ys tring  of no nsense  syllab l e st his si de o f a -wop-
 fans_had never_considered MJ’s mortality until_the day_he_died; but_for_Nash, that was_exactly his appeal._“I’d completely seen all_the stars, growing_up,_as human beings,” he remembered in a career retrospective last year, “and the first_person_I made_human_to_me was Michael Jackson. If_I would have ever seen_him, I_knew in my heart that I would treat_him_like a person.”_Artists, to Nash, were not untouchable beings whose lives_were confined to the stage or_the screen; where_would_the_soul fit in all_that? It was not Michael’s death,_but his mother’s—in 1992, when Nash_was 15—which drove that point home. “That_just kinda changes your idea about_human beings an just living,_period: and_what you can touch, and_what you can’t,”_he said._“I’m never going_to get her back, the same_way we can_never get Michael back... These are_people.”

Nash_had never really_dreamed_of_being the_star himself; he_just_wanted to_write_perfect songs. He did that best_with_Christopher “Tricky” Stewart, an already-established writer and_producer Nash had met_through_his brother, Laney—a ’90s_R&B veteran who’d worked closely_with Babyface, Jimmy Jam, and Terry_Lewis. Laney_had given_Nash his first publishing deal in 2003 when Nash was 26_years old, but it was Tricky_who taught him how_to produce,_how_to use an_MPC,_how to_do everything himself. Throughout the early 2000s,_the two_developed a signature style that, by_the end of the_decade,_would dominate a significant chunk of_pop radio.

Most music fans would consider_“Umbrella” the essential work Nash_(and_Tricky)_released in 2007, and through_the lens of cultural relevance, they’d_be right. The_song redefined Rihanna as an icon in_the_making; it spent seven straight weeks_at_No. 1 on the Hot 100_(and_ten_on the UK Singles Chart),_had the biggest debut in iTunes_history, won a Grammy. All this from a prefab_GarageBand loop—“Vintage Funk_Kit 03,” which immediately implanted_in_Nash’s_conscious a single word: “umbrella”—and some “ella”s and “ayy”s, “the_most insidiously_catchy string of_nonsense syllables this side of a-wop-