According to Complex, the film follows Gibbs’ Mercury Maxwell, a rapper who wants to leave hip-hop behind to become… a farmer. After being sent to the rural Berkshires of Massachusetts, Mercury decides to drop his Money Merc persona and announces his retirement. However, his manager isn’t ready to let his client walk away so easily. While those ingredients have all the hallmarks of a comedy — and Gibbs’ certainly has the chops for one — Complex reports the film’s a drama.
Produced by Breaker Studios, written and directed by Diego Ongaro, and co-starring Bob Tarasuk, David Krumholtz, Jamie Neumann, and Sharon Washington, Complex notes that Down With The King will appear at festivals later this year, where the creators hope to pick up a distributor. Gibbs, who wrote and performed original music for the film, “worked intimately together” with Ongaro “to craft Mercury’s character and backstory” according to the director, who wanted to combine two of his seemingly opposing passions.
“Many films that feature the hip-hop community tell underdog ‘success stories,’ whereas Down with the King does the contrary,” he says. “Mercury is at the top of the hip-hop world but desperately seeks a simpler life… It was an absolute thrill working with someone as sharp and multi-talented as Freddie in this collaborative way.”
Freddie Gibbs is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
From the fraught first year that the Grammys acknowledged hip-hop, it was clear that the then-emerging genre and the old-Hollywood music business establishment that puts the show on each year would never see eye-to-eye. Hip-hop is a youth movement; the average age of the Recording Academy was well into middle age until very, very (seriously, like 2018) recently. Hip-hop comes from the experiences of mainly underserved Black, Latin, and Asian creators; the Grammys — again, until recently — have always been very, very white.
And while the Grammys have made a concerted effort to address its shortcomings regarding its treatment of rap and hip-hop, the genre itself has undergone massive changes since The Fresh Prince first led a hip-hop boycott of the 1989 ceremony to protest the Grammys not televising the new Best Rap Performance award. For one thing, The Fresh Prince is now better known for his extensive filmography and the extreme dad energy of his Instagram and TikTok posts than he is for his mic skills.
Meanwhile, the very attributes a rap performer must display to be taken seriously have changed from night to day. Rather than reeling off rapid-fire punchlines about how “Fresh” you are, you’re more likely to switch breezily from chattering double-time cadences to cool crooning. The synthesizers and programmed drums of the early years have given way to cavernous 808s thundering away over warped samples from classical music and drumless soul loops spinning away behind intricate, ultra-violent drug tales.
So, it’d be difficult for the Grammys to “get it right” even under the best circumstances. Yet somehow, incredibly, that’s exactly what the show managed to do this year — even if no one will ever be truly satisfied with the results. The field, which included projects from California newcomer D Smoke, Midwestern coke rap kingpin Freddie Gibbs, New Orleans mystic Jay Electronica, New York veteran Nas, and Motor City rhyme mechanic Royce Da 5’9, represented one of the most balanced group’s in recent memory, pulling from multiple regions, generations, and sounds, with one thing in common: A commitment to the original tenets of “dope rhymes over dope beats.”
And while any rap fan could find plenty to complain about — once again, there was a dearth of women nominated, despite the sharp uptick in overall representation over the past several years, and no artist nominated was under 30 — there’s going to be a breaking point between having legitimate concerns and just plain moving the goalposts. In prior years, the complaint went, “The Grammys are too commercial,” only selecting projects from artists with sales numbers and widespread press, letting the importance streams overtake the value of artistic vision.
While this is a position that’s already hard enough to defend, considering the subjective nature of artistic vision in the first place, the fact remains that the Academy took long strides in addressing those concerns this year. Acknowledging longtime underground favorites like Freddie and Royce, paramount musicianship from D Smoke, and the bulletproof legacy of someone like Nas, the Grammys sent a clear message: That they heard those prior years’ complaints and took them seriously.
So, of course, it’s only natural that rap fans find something else to take issue with — namely, Nas’ win over Freddie. While both albums were collaborative efforts between two of rap’s top technicians and a pair of well-established producers in Alchemist and Hit-Boy, the fact remains that Nas is the more recognizable artist between the two among Grammy voters. He’s been a perennial contender for Best Rap Album, and while playing “what if” is always dicey, it’s almost certain that a win for Freddie over Nas would have drawn just as many vocal protests after the Queensbridge icon was once again “snubbed,” adding to his double-digit list of losses.
The fact someone like Freddie Gibbs could even receive a nod is a victory in itself — especially when you consider how many other artists were considered snubs this year. Lil Baby had one of the most-streamed albums of 2020, a No. 1 single in “The Bigger Picture,” and many rap fans’ hopes riding on him to legitimize the trap rap movement in the mainstream purview. Despite multiple female artists releasing worthy projects in 2020 or late 2019, none were nominated. No year’s field could ever be perfect, but the Gibbs nomination proves the Grammys are trying.
It also shows that maybe just adding more Black, female, or “young” voters isn’t quite enough. There’s no guarantee that these measures will ensure significant variance between voters’ tastes — after all, Grammy voters also tend to run more “intellectual” and “refined,” which helps explain why rough-edged rappers like Lil Baby might fly under their radars. That said, the show’s producers picked up the slack elsewhere; newcomers like DaBaby, Lil Baby, Megan Thee Stallion, and Roddy Ricch not only appeared on the show — one of the biggest platforms to help them launch their future bids for mainstream recognition — but Megan also won for other categories, while Chika and Doja Cat were mentioned among the Best New Artists of 2021.
Those moments count too. After all, Nas’ win was as much a result of his stature among Academy voters as it was a consolation for all the other golden gramophones he never got to display on his mantel. Cardi B pointed out as much before the show; just giving these under-the-radar artists the look helps them further their careers, which is the real goal. The Grammys aren’t the be-all, end-all. Like Nipsey Hussle — another Best Rap Album “snub” who won a different award posthumously the next year — said, “It’s a marathon, not a sprint.”
Perhaps that’s the view rap fans should take with the Grammys’ halting progress toward a more perfect relationship with hip-hop. While rap is too broad and diverse a genre to ever be able to honor every artist in every nook and cranny of rap’s various versions, there’s nothing wrong with giving them credit where it’s due, even as we ask them to consider angles they haven’t yet. That’s what they’re trying to do — heck, it’s what we should all aspire to do — and when even getting “snubbed” helps artists so much, that’s an effort that should be appreciated.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
While Freddie Gibbs fans had a minor collective meltdown over his album Alfredo being “robbed” at the 63rd Annual Grammy Awards, the Gary, Indiana rapper’s response was much more affable. Gibbs, who was tabbed by fans as a shoo-in for a Best Rap Album award win thanks to his razor-sharp flows and blunt, darkly humorous observations about his misadventures in the drug game on it, was beaten out by Nas, who won the award for his Hit-Boy-produced 2020 album King’s Disease.
Fred didn’t seem too broken up about it, though. In a video posted to social media by a fan at his private Grammy viewing party, Gibbs shrugged off the loss with his typical irreverent outlook and a cheeky comment, delivered in a flashy, salmon-colored suit. “Look, I might have lost today,” he admitted, addressing the crowd. “But I’m undefeated in court!”
He’s referring, of course, to a handful of criminal cases that broke his way, as detailed recently by an in-depth profile on The Ringer by Jeff Weiss. In one case, a judge misreading the amount in case of possession of weed led to the case being dismissed. In the most recent example, Fred was arrested in France after being accused of sexual assault in Vienna, Austria. However, once the details of the case were heard in court, a panel of Austrian judges declared him not guilty, with video evidence confirming that Gibbs was alone in his room at the time the assault was alleged.
Check out Gibbs;’ tongue-in-cheek response to his Grammy loss above.
Freddie Gibbs is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Last year, Freddie Gibbs and The Alchemist teamed up for their joint album, Alfredo. The project was labeled as one of 2020’s best hip-hop albums, a title that was upheld by its eventual Best Rap Album Grammy nomination for this year’s show. In a little over 24 hours, Freddie Gibbs and The Alchemist will learn whether or not they will get their first Grammy award thanks to the album, but before that happens, the two brought their talents to The Tonight Show Starring Jimmy Fallon to perform “Scottie Beam,” a favorite from Alfredo.
Rather than keep things simple with a straightforward performance, Freddie and Alchemist opted to spice things up. The duo, accompanied by a few other guests, took their seats around a dinner table to wine and dine as Freddie performed “Scottie Beam.” The group was also served a meal of alfredo pasta which they appropriately enjoyed during the set. Rick Ross, who has a verse on the song, was not present for the performance.
Freddie and Alchemist’s appearance on The Tonight Show comes after they performed at the first-ever Black Music Collective pre-Grammy event on Thursday. They took the stage alongside names like HER, PJ Morton, and Yolanda Adams.
Watch the performance in the video above.
Freddie Gibbs is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Indiana rapper Freddie Gibbs is really winning. He went to social media to share a dope portrait of himself alongside a story praising his success and getting everybody hyped for the Grammys. Freddie Gibbs Is Hyped For The Grammys Gibbs took to his Instagram with a few screenshots as he prepares for this Sunday’s 63rd […]
Freddie Gibbs has lent his rap talents to a number of other hip-hop artists throughout his career, but tonight he’s working with a rising R&B star instead of a rapper. Adding a new entry to that list, the Alfredo rapper joins rising singer Joyce Wrice on their new single, “On One.” The track is a groovy number with both artists detailing the passionate relationships they find themselves in. No matter how hard they try to break it off, they end up returning to their partner for another dose of the love they tried so hard to run away from.
The track will appear on the singer’s upcoming debut album, Overgrown which is due for a release on March 19. Listeners will catch contributions from Lucky Daye, Westside Gunn, Kaytranada, Masego, Devin Morrison, and UMI on the album. While the track is Joyce and Freddie’s first collaboration together, they both appeared as guest acts on Westside’s 2020 album, Pray For Paris. On Freddie’s side of things, “On One” is his second track of the year following “Gang Signs” with Schoolboy Q. That song proved to be a much more relaxed effort than the potential song fans expected from the rappers.
“On One” comes after Freddie made an appearance on the Joe Rogan Experience podcast where the two held a four-hour conversation. It was here that the rapper claimed to have shot a crackhead nine times, an action that didn’t have too much of an effect on his target according to Freddie.
