Last fall, Wizkid released his fourth album, Made In Lagos and it quickly grew to be a favorite out of the projects released during the 2020 portion of the pandemic. Unfortunately, the global circumstances may have prevented its enjoyment to the fullest, as a good listen in the summer sun would’ve made the experience even better. However, with the summer just around the corner again, Made In Lagos could finally receive that moment and the Nigerian afro-fusion star reminds fans of the album’s beauty with a vibrant visual for “Essence.”
Backed by an excellent contribution from Nigerian singer Tems, the two head over to the motherland for the new video. The singers flaunt the brightest of colors as they sing about the intimacy and close connection they seek between themselves and their partners. Wizkid rides around the neighborhood with a pair of women beside, both who seem infatuated with the singer, while Tems takes to the comfort of her home to sing her captivating verse.
The visual arrives after Wizkid earned his first-every Grammy Award as a result of he is contribution to Beyonce’s “Brown Skin Girl” track, an effort that also gave Saint John and Blue Ivy their first Grammy wins. The “Essence” video is also the fourth from the Made In Lagos, with “Smile,” “No Stress,” and “Ginger” being the other videos to receive the visual treatment.
In the first episode of Uproxx’s newest show, Behind The Video, breakout Dallas star Erica Banks breaks down the making of the video for her viral hit, “Buss It.” Right off the bat, she debunks the belief that shooting a music video is a simple, straightforward process, then, she gets into some of the details, including the fact that she styled herself for the shoot, and even responds to a famous admirer’s YouTube comment while watching the video.
She also says that there was another “Buss It” video, but she refuses to let anyone else see it. When asked about the shorts she wears in the video, she reveals that the shorts are coming soon to her official merch site and asks fans to stay tuned.
During Banks’ visit to Uproxx Studios, she also delivered an electric live performance of “Buss It” for UPROXX Sessions. She also recently revealed that before signing to Warner Records, she was offered a deal with DaBaby’s label Billion Dollar Baby Entertainment, but turned it down to consider her options.
Watch Erica Banks break down her “Buss It” video above.
Erica Banks is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
It may sound like a cliche, but it’s true; DMX shocked the world when he first arrived on the scene in 1995, appearing with Ja Rule, Jay-Z, and Mic Geronimo on the posse cut “Time To Build” and then utterly destroying his standout verse on LL Cool J’s “4, 3, 2, 1” with Canibus, Method Man, and Redman in 1997. By the time he released his debut major-label album, It’s Dark And Hell Is Hot, anticipation was just as high as the temperature in The Bad Place, leading to a No. 1 debut on the Billboard 200. When he followed up later that year with Flesh of My Flesh, Blood of My Blood, he became the first rapper to debut at No. 1 back-to-back in the same year.
From there, he had a string of successive hit albums and singles, including … And Then There Was X, The Great Depression, and Grand Champ. Songs like “Party Up,” “What These B*tches Want,” “Who We Be,” “Where Tha Hood At,” and “X Gon’ Give It to Ya” became pop culture fixtures and have remained popular to this day, with many forming the foundation of memes and samples used in hip-hop by top rappers like ASAP Rocky and Drake.
Unfortunately, a lifelong addiction to cocaine, which started at just 14 years old after he was given a laced blunt by an acquaintance, derailed his career multiple times. Legal issues led to multiple stints in prison, including a 2017 conviction for tax fraud prompting his most recent one. After his release in 2019, he seemed to be on the road to a comeback after completing rehab, plotting out a new album featuring Griselda Records and Pop Smoke, and appearing on Verzuz alongside Snoop Dogg.
X was open about his struggles, often making them the center of dark, sometimes menacing, sometimes vulnerable rhymes on his projects. However, no matter how sinister the subject matter, he always came back to his faith; his penchant for adding prayers to his albums and live shows is well-noted. Meanwhile, his vocal pyrotechnics, ranging from a threatening growl to the explosive barks he used as ad-libs (and reportedly trained one of his actual dogs to add to his live freestyles), were made all the more impressive by his lifelong struggle with asthma — which never stopped him from performing without a hype man, pacing the stage like a caged tiger.
He often stole the show; on posse cuts like Mase’s “24 Hours To Live,” he regularly out-rapped, outboasted, or out-performed his collaborators. For a time, he had a reasonable claim to the coveted “King of New York” title in the wake of Biggie’s death, alongside Ja Rule and Jay-Z, with whom he had an alternately friendly and contentious relationship. Although they came into the game at the same time and even plotted on a group project titled “Murder Inc.,” divisions between led to the dissolution of this idea, while fans pitted them against one another in top rapper debates.
Just check out the freestyle snippet from the Def Jam tour documentary, Backstage, where you can see DMX and Jay-Z trading bars during what was likely one of mania impromptu ciphers during their 1999 Hard Knock Life Tour. Jay-Z is cool, collected, and measured as always, but DMX is downright magnetic, speeding and slowing his cadence, one moment just as disaffected as his friend/rival, the next, agitated, belligerent, showing his teeth — just like one of his beloved pets might when a stranger gets a little too close.
X contained all of these emotions and more; his music was an expression of all things hip-hop, from the streetwise braggadocio typical of the biggest hits to the exposed, bloody trauma that he was never quite able to escape from. By putting it all into his music, he expanded the bounds of what rap could be capable of; he was fallible on “Slippin’,” fiery on “Who We Be,” triumphant on “Where The Hood At,” cautioning on “Stop Being Greedy,” and even played the lothario on “What These B*tches Want.” He could be a comedian, a horror film director, an action star, a drug kingpin, a stick-up kid, and a wounded child in need of comfort.
His albums created space and precedent for future rappers like Kanye West and Kid Cudi to address their own struggles with anxiety and depression. And even though X once professed to hate everything Drake stood for, he later softened his stance, understanding that Drake’s outlook was an extension of his own, with different traumas and worries, but the same vulnerability. Kendrick Lamar credits DMX as his favorite rapper for that quality, and he’s likely not the only one who does, as we’ll likely find out in the coming weeks.
DMX’s story could be tragic, but he never let the tragedies of his life solely define him. After all, this was a man who took the internet’s fascination with his gravelly rendition of “Rudolph The Red-Nosed Reindeer” and ran with it, releasing a studio version that showed his lighthearted side. He was someone who knew just how hot hell could be, but at the height of his success, got close enough to glimpse heaven. The rap world won’t be the same without him, but it already changed so much because of him. He showed us the soul of a man and hopefully, that soul is finally at peace.
The music world suffered a gigantic loss on Friday morning. After spending several days in the hospital in critical condition, Earl Simmons, known to millions as DMX, died at age 50. DMX suffered a heart attack as a result of an apparent drug overdose on April 2, and a few days later, his manager said that he was in a comatose state and on life support, with his team of doctors performing a series of tests in an attempt to determine what would be best.
As is oftentimes the case when someone as revered as DMX passes away, the news led to plenty of people on social media — including many from the world of music — issuing up prayers and tributes. This also included a number of NBA players, including LeBron James and Bradley Beal, some of whom made it a point to look back on his life and legacy.
Iconic artist DMX passed away at age 50;( sorry to hear that. Grow up listening his music. Had a chance to shake his hand once in Orlando after the game! Great person#rip
Eric Paschall of the Golden State Warriors posted a famous video of DMX at Woodstock ’99, where he performed “Ruff Ryders Anthem” in front of a packed, energetic crowd.
Doja Cat provided one of the highlights of this year’s Grammys ceremony with her futuristic performance of “Say So.” It turns out that was a special moment for her, since she “cried like a baby” (in a good way) after she left the stage.
She spoke about it with Apple Music’s Zane Lowe, describing the post-performance scene:
“So I performed, it was the first time that I’d ever performed and then cried like a baby after. And I don’t do that, I don’t cry. I just get off stage and I’m like, ‘Yeah, we did it, yeah.’ But for this, literally the director for the whole thing, he came up to me and I was walking off stage and he was like, ‘Thank you so much. You were amazing.’ And I’m like, ‘[sobbing] Thank you.’ And we were rushing out and I couldn’t talk to him. And I was just dying. […] [It was] ugly, ugly. Everybody was holding each other’s shoulders and looking at each other. It was really, really corny, but it was the sweetest, greatest, most intimate moment I’ve ever had.”
She also talked about preparing for the performance, saying:
“I feel like when you think of a Grammy performance, it’s like, three months of rehearsal and like it’s a huge deal, blah, blah, blah. And it is, but we had two weeks to put this together. So we had the two weeks of rehearsal for choreography, but I think that the concept was definitely something that we had for two months, three months. So visually, all that was kind of locked in by the time we started dancing. So I rehearsed for two weeks and then it was really, really difficult at first. Look: we tried different prototypes. I did the boots at the end, but we were trying to do heels. Heels were like… it was scary, but I really wanted to try. It looked so good, it had such a good silhouette.”
For the past few days, there have been reports about the status of DMX’s health, and none of them were promising. Now, sadly, the tragic day that fans were hoping to avoid has arrived: It was announced today that the legendary rapper has died at 50 years old. The news was confirmed in a statement from DMX’s family, which noted that he died while surrounded by loved ones in the hospital.
People in the music world had been sharing some tributes to DMX recently as news about his health was revealed, and now that his death is official, more tributes to the rapper are pouring in.
Biz Markie wrote, “RIP DMX. No one radiated more agony, pain, and atomic energy. The Cerberus from Yonkers, who suffered for all of our sins and his own. Maybe the rawest rapper of all-time, no pretense or frills, just pure adrenaline, lawless genius, and reckless abandon. The struggle incarnate.”
RIP DMX. No one radiated more agony, pain, and atomic energy. The Cerberus from Yonkers, who suffered for all of our sins and his own. Maybe the rawest rapper of all-time, no pretense or frills, just pure adrenaline, lawless genius, and reckless abandon. The struggle incarnate. pic.twitter.com/P80t1GQHEa
Missy Elliott also wrote, “Even though you had battles you TOUCHED so many through your MUSIC and when you would PRAY so many people FELT THAT! This is heavy for the HipHop family but your LEGACY LIVES ON & your SPIRIT. Continued Prayers for X family & friends for STRENGTH/HEALING.”
Even though you had battles you TOUCHED so many through your MUSIC and when you would PRAY so many people FELT THAT! This is heavy for the HipHop family but your LEGACY LIVES ON & your SPIRIT. Continued Prayers for X family & friends for STRENGTH/HEALINGpic.twitter.com/ZI9NI6Nslg
one of the coolest and most powerful voices ever, rewatching lots of his videos this week i could still remember the powerful feelings the first times i saw and heard these songs. RIP to DMX, so sorry to everyone feeling this loss https://t.co/C5fdkx4QwO
— speedy ortiz ÷ haunted painting (@sad13) April 9, 2021
I was a late bloomer to Hiphop and before Get At Me Dog came out I wasn’t even listening, X was my introduction into Hiphop and the reason I fell in love with it, Rest in Paradise Dark Man X pic.twitter.com/NPiFjNPBRn
As the world awaits news about the condition of rap icon DMX, who remains on life support in a coma after suffering a heart attack reportedly caused by an overdose, a new song featuring the rapper surfaced on streaming services, courtesy of Cleopatra Records. Titled “X Moves,” the new track is a collaborative effort featuring Parliament-Funkadelic bassist Bootsy Collins, as well as Asia guitarist Steve Howe and Deep Purple drummer Ian Paice. A fusion of funk, rap, and rock, it highlights DMX’s ferocity and versatility at a time when the icon’s fate hangs in the balance.
Meanwhile, the rapper’s actual label, Def Jam, is facing backlash after releasing a pair of compilations highlighting his prior work, with some fans finding the timing disrespectful and exploitative. However, some defenders applauded Def Jam for underscoring X’s importance to so many music fans at a time when younger listeners might be curious about why his predicament has had such a widespread effect.
Although erroneous rumors about the rapper’s condition circulated late last night, his manager Steve Rifkind, posted an Instagram video imploring fans to hold off and wait for an official statement. However, the outlook isn’t great; a critical test of DMX’s brain function Wednesday reportedly found little improvement.
We’ll see if fans receive “X Moves” better than they did the Def Jam compilations. You can check out the track below.
In news that the music world hoped would not arrive, it’s been reported that DMX has tragically passed away at the age of 50. The news arrives less than a week after he suffered a reported drug overdose at his home. According to TMZ, the incident occurred at 11 p.m. last Friday and resulted in him being rushed to a White Plains, New York hospital.
Upon his arrival, the rapper was reported in “grave condition” and placed in the facility’s critical care unit. TMZ also reported that the overdose triggered a heart attack. After some conflicting reports about his status, it was clarified that he remained on life support with little brain activity. The rapper then spent days in the hospital with family, friends, and supporters hoping he would pull through. But on Thursday night, word of his passing was reported by his family in an official statement.
DMX’s passing is a sad ending to his long-documented battle with drug addiction. It’s one that began when the rapper was tricked into smoking crack by his rap mentor at just the age of 14. In recent years, his battle landed in the eyes of the public through multiple trips to rehab — one in 2017 and another in 2019. In both situations, he was forced to cancel concerts in order to get a grasp on his addiction.
In 2019, his rehab announcement was made through an Instagram post. “In his ongoing commitment to putting family and sobriety first, DMX has checked himself into a rehab facility,” the caption read. “He apologizes for his canceled shows and thanks his fans for their continued support.”
Despite these past bumps, DMX seemed to be heading toward a better path and was preparing to release his upcoming album, one he said would arrive with features from Griselda Records, Pop Smoke, and U2’s Bono.
Despite hailing from Liverpool in the United Kingdom, an ocean away from the birthplace of rock and roll, The Beatles’ importance in the influence of American popular music can not be understated. But why do they keep getting compared to American rap groups from Atlanta, namely Migos and Outkast? In a recurring social media gag, every so often some prominent figure on Twitter declares a modern rap group “bigger” or “better” than The Beatles, setting off another round of vigorous and — it must be stated — mostly irreverent, tongue-in-cheek debate.
On one side are The Beatles’ defenders — those who believe that even feigning to compare them to newer acts, across genres, generations, and geography, amounts to nothing less than musical sacrilege. On the other, a mass of folks who seem delighted to do nothing more than joyfully impugn the legacy of the most successful rock band of all time by arguing for one group whose biggest breakout involved the repetitious invoking of a luxury design house and another whose most mainstream hit was accompanied by a video that parodied the height of Beatlemania.
Caught in between them are bewildered music fans who can’t help but wonder how the artists being compared even relate to each other and why either side seems so intent on making such a fuss over the others’ opinions. Some may wonder how Migos, barely a decade into their career, or Outkast, more than a decade past their golden years as a respected rap duo, even merit discussion alongside the act that held more Billboard records than any other until very recently. However, the answer is not so simple as comparing plaques, and the motivations of both sides are more complex than they appear.
For what it’s worth, I don’t think anyone takes these declarations all that seriously — and if they do, that’s their prerogative. Art is subjective; one person’s most successful rock band of all time is Quincy Jones’ pick for “worst musicians in the world.” For someone whose tastes run more toward blasting bass-heavy, 808-ridden triplet raps through the streets of downtown Atlanta than dropping the needle on the psychedelic meditations of a groovy quartet of shaggy-haired British misfits, making the claims that “Stir Fry” is greater than “Penny Lane” might seem pretty reasonable.
But for an elder generation who grew up with The Beatles, it’s a slap in the face — which is part of the fun for their disruptive detractors. For many of hip-hop’s formative years, rock-chauvinist music critics and fans denied the nascent movement’s musicality, value, and validity as an art form. Fans of rap endured sneering comments that dubbed rap “crap” (haha, so clever) and demeaned the poetry in its often blunt, plainspoken lyrics. Used to lofty, esoteric references to walruses and thinly veiled references to the wonders of LSD — you know damn well that’s what that song is about — rap’s tendency to drive home its points with the force of a nail gun rubbed them the wrong way.
By the same token, their criticisms got under rap fans’ skin, but all rap fans could do was rankle privately and defend the value of the form publicly, through multiple waves of indecency witchhunts led by the likes of Barbara Bush all the way up to Bill O’Reilly. Even today, Cardi B has to defend herself from the Tucker Carlsons of the world almost weekly. But now that rappers like Cardi and Migos are the best-selling acts in the country (an easily quantified claim to make thanks to the advent of streaming), their legitimacy is already assured and all that’s left is to return four decades’ worth of grief one trollish tweet at a time.
Furthermore, The Beatles are no longer a group that defines youth culture. Where once they shocked the world, sent teen girls into hysterical paroxysms, and made concerned mothers clutch their pearls even as they tapped their feet, they’re beyond tame by today’s standards — they’re lame. Furthermore, The Beatles’ prime was a long time ago. We’re in an era where most news items, hit singles, and viral discoveries have a shelf life of about 18 months. For younger millennials and Generation Z, a group that had their own “mania” 50 years ago and no new hits in the last 30 would barely register against the non-stop deluge of new content we’re asked to consume just to keep up these days.
And while The Beatles ruled radio in their day, the average 13-year-old today has probably never even willingly turned one on for their own benefit — if they even know what radios are (again, thanks to the advent of streaming). Many can likely only name a handful of songs — songs that, to them, probably sound how the tunes Captain America was listening to sound to elder millennials and Generation X. It’s their grandparents’ music, and while grandparents can be cool, their taste usually isn’t. So while older hip-hop heads — and it’s usually members of the aforementioned “X-ennial” generation who actually post the tweets in the first place (see: Ron Funches and Donald Glover) — plot to torment their own elders as a means of resistance and revenge for all the pestering of their formative years, for the zoomers, it’s a way to assert their own tastes and identities, as well as indulging in their generations’ unique taste for digital chaos (see: Lil Nas X).
However, that alliance is mostly one of convenience and circumstance and there are already signs of it fracturing. Consider this: Outkast’s last major hit came out almost 20 years ago. That’s just long enough to be retro — which is only a few more years away from being terminally uncool. Time marches on, and Father Time remains undefeated. So while Migos and Outkast may be better than The Beatles today, tomorrow, they might just be inferior to the Polo Gs and Lil Nas Xs of the world. And The Beatles? Well, you know what they say: Everything old is new again. Maybe in another 10 years, they’ll be back in fashion after some 17-year-old samples “Hey Jude.”
You really have to give CJ credit; the kid hit it big with “Whoopty” and he’s been running with the ball ever since. While releasing his NYC Remix with French Montana and Rowdy Rebel and a Latin Mix with Anuel AA and Ozuna, he’s also kept up a steady stream of videos from his debut EP Loyalty Over Royalty. Today, he released a deluxe edition of the project containing the above-mentioned songs, as well as two new tracks. One, “Lil Freak” featuring fellow New Yorker DreamDoll, got the video treatment as well, and hallelujah, CJ finally changed locations for this one.
Removing himself from the dreary warehouse location of the “Real One” and “Set” videos, CJ lands in sunny Miami, where his tendency to rock his shirts unbuttoned fits right in. Here, he’s surrounded by bikini-clad women poolside at a hotel, where he professes his appreciation for — ahem — sex-positive women as his video vixens twerk around him. DreamDoll pops up halfway through the video to spit a high-speed verse while showing off her own gluteal tactics (“backward in heels” continues to hold true in the rap world).
Watch CJ’s “Lil Freak” video featuring DreamDoll above.
Loyalty Over Royalty (Deluxe Album) is out now on Warner Records. Get it here
. CJ is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.