Lil Durk

Hitmaka Tells Us How He Keeps Making Hits And Plans To Dominate The Music Industry

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Getty Image/Ralph Ordaz

The revered status of Hitmaka has been two decades in the making. Turn on the radio today at any given moment and surely there will be a song playing that the multi-platinum selling producer has touched in some form. In 2008, radio was dominated by his massive hits “Sexy Can I” and “The Business,” both off his debut album Look What You Made Me under his former moniker Yung Berg.

Lately, Berg’s talent lies in sampling sounds from the same era that he used to make music in and beyond. As a result, the Chicago native is curating this current generation’s era of sounds by working with essentially everyone from the late King Von to industry legends like Nicki Minaj.

Gifted with an ear for melody and feel-good vibes, combined with a knack for picking out a talented music-making team, it’s no wonder he has been able to continue to create songs that consistently land on the Billboard charts or become certified platinum by the RIAA. Atlantic Records tapped him to be the Vice President of A&R with great results and now he’s serving as Empire’s VP of A&R, where he’s expected to dominate the music industry even more. And that’s the goal.

Speaking with Berg about the bevy of upcoming projects he’s working on, including his latest release “Quickie” featuring Queen Naija and Ty Dolla Sign, I dug into the mind of Hitmaka to find out his hit-making process and key to his success.

What have you learned from the beginning of your career to now?

Consistency and work ethic is the key for me. A lot of people don’t really put that foot forward and wait for somebody else to do something for them. Whether it’s the team they’re provided, or just putting responsibilities on other people instead of using themselves as the vessel. Myself, I’m so driven and such a workaholic.

Have you always been this self-motivated?

I got my first record deal when I was in ninth grade. I never really had any other experience besides music. Everybody says, “Don’t put your eggs in one basket,” but I did the opposite way and put every egg in one basket. It left me with my back against the wall. Not to where it’s like, “If this doesn’t work out, maybe I could pivot and do this.” It was more so like, “This has to work out,” and that’s what it’s been my whole life.

I feel like you’ve lasted a really long time and it hasn’t been without criticism. How have you dealt with that?

You’ve just got to be built of Teflon. I feel like I’m a very resilient person. At first, I didn’t understand it when I was going through a lot of things early in my career. I looked at it as a negative. At this point where I’m at now, on the other side of my career, and not having peaked and still on my way up, I was able to go through those things and it made me tougher. It was a gift to me because it prepared me for what you could endure on any level. I went through it at a young age. I feel like it doesn’t even reach my radar. It doesn’t really penetrate anything that I have going on in my own world. It comes with the territory.

Most know you as Yung Berg but now you’re Hitmaka. Why the name change?

A few different things happened. One, when I was still deep into my Yung Berg bag and putting out mixtapes, Rico Love was the hottest producer and writer at the time. I was on Twitter one day and I reached out to Rico and he allowed me to link up with him. I went to the London Hotel and he was having breakfast on some real baller shit, sitting by the pool and just talking to me. I was telling him my journey. He was like, “Yo, I think you should change your name.”

Then, I went to Miami, because I was working on Last Train To Paris, Diddy’s album, and Rico was too. Rico would be introducing me to people as my government name. Like, “Hey, this is Christian.” And it’d be like Fat Joe and Fat Joe would be like, “No, that’s Yung Berg. What are you talking about?” He’s like, “Nah, it’s Christian.” I didn’t really like it because when I first met Joe, I was like, damn, he didn’t embrace it and it felt a little weird. But one day when I was in the studio I just said, “Hitmaka,” at the beginning of a song and I decided that I’m going to continue with it. It was a pretty bold statement. I’ve just been working hard to live up to it and it’s been working out.

That’s interesting you say it’s a bold statement. You didn’t think it was fitting?

I didn’t know what the fuck was going on. I was just creating records. I was in a different space. I knew people were feeling me as an artist. On my first album, I wrote all the features and I had a lot of features. I thought, “I’m pretty good at this. Let me continue doing it.”

Do you ever get bored of producing?

No, not at all. I love producing and writing. That’s what my background is. I don’t ever get bored. This is the evolution of my career. At the end of this, I’m going to be one of the big guys at the head of a company, like a CEO. I’m really a music man. Shout out to L.A. Reid and other people I’m in business with. I look at myself like that.

You’re really good at flipping throwback hits. What is your process for choosing which songs to sample?

I put a flag in the sand and I yelled, “I’m going to flip all my songs and I’m going to be the Puff Daddy of this generation. I’m going to make it very clear what’s going on.” From there, I would just link with a guy named Paul who I met via Ayo & Keyz while making Wiz Khalifa’s “Something New,” and I’m just reliving my life. All the records that I love from the 106 and Park era, I just go back in. I know what I like. Honestly, I’m just making records to music that I personally like and throwing it out there. It’s just a blessing that the world is sharing the same taste level as me.

What are some songs that you are proud of?

I’m super proud of being able to work with King Von and doing that record for him and Lil Durk, “Still Trappin.” That record went platinum and was some of Von’s last work that we did. We did those records together in a studio and I was able to work as a co-writer on it. A lot of people don’t know, but we actually wrote the hook to that record. Even though Von came in and made his own little changes to it, he had never worked like that before to where the hook was already built into the song. He never worked like that before. It was his first time and we caught a platinum plaque. Rest in peace, Von, and shout out to Lil Durk.

I feel like you’re always on the verge of also tapping in with up-and-coming talent. What is your process for that? Do you have people telling you or are you out there, listening to the streets?

I’m scouting and I’m always looking. I have people telling me different artists to work with. Maybe someone on my team will set me up with somebody to work with, like Tink. I never worked with Tink before and we’re both from Chicago. When we met, we hit it off immediately. We were able to make her new album that’s out now, Heat Of The Moment. I think she’s on the cusp of being something very, very incredible.

I know you have your team and go-to’s but whenever you invite other people into that, how do you pick? You could really put anybody on with your name so what is that one thing you look for?

It’s just the talent. Once I hear it, and your demo is something that somebody plays me is amazing, I already know that I can take this shit to the next level. There’s a lot of people that I work with, Goldie, Rocky, Crishan, Ivory Scott is a new guy that I’m working with that’s from Chicago that’s done amazing things. We just did Yung Bleu’s record, “The Baddest” with Chris Brown and 2 Chainz together. He’s on Fat Joe’s new album that’s about to come out as a featured artist. We just did Trippie Redd’s new single that’s about to drop with Polo G and Lil Durk. If you dope, you somehow make your way to me, and you come highly recommended, then I’m going to work with you. It’s the same way I met Goldie. I didn’t know Goldie for a long time, but I have known her for, now, almost 10 years. I met her at a session and they paired us up to work together. Our relationship has continued from there.

Whenever you go number one or you get a platinum plaque, does it ever get old to you?

To be honest, I don’t even buy plaques. I have two plaques in my house. I have a plaque from Teyana Taylor and King Combs, “How You Want It,” that a co-producer, my mentor, bought for me. I don’t really go around and cop that because the work’s not done yet. I feel accomplished and I know where I’ve come from and I know what it took me to get here, but I’m still so far from what the end goal is. I’m already a pretty confident guy. I don’t need that.

You seem still hungry like you came in here three months ago. You’re still trying to go after it. So what is the end goal for you?

I’m not going to stop. I’m going to make music forever. The end goal is just to be a huge business. I’m going to be a combination of Lucian Grainge, L. A. Reid, and Mike Caren, and hopefully bigger than them. I’ve been around and have had the pleasure to be around a lot of great CEOs. The end goal is to be a titan in this game and a force to be reckoned with and legendary.

Speaking of Mike Caren at APG, you were on that label. Is Mike one of those mentors to you?

Funny thing you say that, when I hang up this phone, I’m going to meet with Mike right now. Me and Mike, we’re still in business. He shares information with me, and I’m appreciative because that’s the most we can really ask for. People want money and free this, and access, but information is key for me so I can know how to do this shit myself and put my own spin on it.

What kind of advice do you have for up-and-coming producers?

Just be ready when your number is finally called. A lot of people don’t understand that and they’re just caught up in the, “When is it going to be my time? And I’m sick of doing this. And I should’ve been on.” When your number’s called, being ready is actually the most key thing you can actually be involved in. I know a lot of people that might have got a super No. 1 hit, but wasn’t ready for the workflow that followed. I think that’s one of the biggest keys in my success and my company’s success. We work every day. Just stay ready. Don’t chase the bread. Chase the work. Once you chase the work, the money is going to catch up to you.

Coi Leray Says Lil Durk Stopped Her From Quitting Music: ‘This Man Right Here Believed In Me’

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Over the last year, Coi Leray has become one of music’s newest stars. The New Jersey rapper went big with her viral hit “No More Parties,” which received a remix from Lil Durk. She’s also done collaborations with Pooh Shiesty and others. Despite her popularity, Leray has been criticized for a number of things, from her music to her physical appearance. There was a point where it became too much for her to handle. She even almost called it quits. However, one of her past collaborators changed her mind.

In a post on her Instagram Story, Leray revealed that Lil Durk stopped her from quitting music. “Almost gave up one day and he told me don’t ever stop,” she wrote next to a picture of herself and the Chicago rapper. “Most artist show love from a distance on some weird sh*t, but this man right here believed in me, believe[d] in ‘No More Parties’ and been behind me ever since. He know a star when he see one, and I just wanna thank you for all your support. OTF FOREVER.”

The rapper recently dropped her latest single, “Twinnem,” which was the follow-up to her confident single, “Okay Yeah,” released last month.

Pooh Shiesty is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Future And Lil Durk Flex All Over The FaZe Kaysan-Produced ‘Made A Way’

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FaZe Clan has built a reputation as a haven for some of the coolest personalities in e-sports, with ties to basketball through LeBron’s son FaZe Bronny and plenty of hype in the ever-growing gaming community. FaZe has always made it clear that their scope stretches well beyond just e-sports or video games, though, with a focus on becoming one of the biggest lifestyle brands in the space.

And that’s not the only space the brand is intent on conquering, as they made clear this week with the announcement of their first musician and gamer, FaZe Kaysan. Check out his introduction video below:

Not content to simply roll out this artist with a walkthrough detailing how cool his every day life is, the company also shared a new song that was co-produced by Kaysan and Wondagurl. And while plenty of hip-hop artists thrive off the collaboration ecosystem, Kaysan is coming out of the gate strong with a pair of rappers on his debut single that plenty of fledgling artists would be thrilled to have co-signs from — Future and Lil Durk. On the production side, Wondagurl was also thrilled to be involved and praised Kaysan’s enthusiasm.

“It was a lot of fun connecting with Kaysan on this project,” WondaGurl said of the track. “He has a great vibe and is super enthusiastic, two things that are really important to me when I’m working with new artists. Kaysan has a vision for himself and is driven to succeed and make his mark.”

Rod Wave And Lil Durk Count Their Blessings In The Mournful ‘Already Won’ Video

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Coming off the release of the deluxe edition of his first No. 1 album Soulfly, Rod Wave shares a reflective video for its new single “Already Won” with Lil Durk. Opening with a short monologue about his childhood dream to be the “biggest dope boy in the world” and that dream’s dissolution as he took stock of the losses accumulated in its pursuit, the video juxtaposes mournful shots of a family standing around a casket and a son visiting his father in prison with nostalgic ones of a young Rod lying in bed dreaming about the future.

The Florida crooner certainly did take a different path — one that’s paid off in a big way since releasing his well-received debut album Ghetto Gospel in 2019. Thanks to TikTok, the album’s single “Heart On Ice” climbed to No. 25 on the Hot 100, setting the stage for his meteoric rise. After Ghetto Gospel reached No. 10 on the Billboard 200, Rod’s second album, Pray 4 Love, debuted even higher, peaking at No. 2 in 2020. Then, this year, Rod acquired his first album chart No. 1 with the release of Soulfly, buoyed by fan-favorite singles “Street Runner,” “Tombstone,” and “Richer” featuring Polo G. Now, Rod’s on his tour promoting the album which is scheduled to finish on October 23 in Seattle.

Watch Rod Wave’s “Already Won” video featuring Lil Durk above.

As Concerts Return, Things Are Going Back To Normal… But Should They?

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The pandemic isn’t over yet but it certainly felt like it at the Staples Center in Los Angeles when Lil Baby’s aptly titled Back Outside tour came to town Friday night. The Atlanta rising star had a breakout year in 2020 with the release of his album My Turn, earning his first-ever No. 1 single with “The Bigger Picture,” yet he never got a chance to perform the exhilarating, fan-favorite songs from the album like “Emotionally Scarred,” “Get Ugly,” “Sum 2 Prove,” and “We Paid.”

As a bonus, fans in attendance got to witness a split set with Baby’s co-headliner Lil Durk, who had his own album, The Voice, to promote, plus the two rappers’ joint album, The Voice Of The Heroes. Durk’s opening set provided the Chicagoan the opportunity to showcase the talents of his OTF family, particularly Booka600. King Von was honored by a group salute, and when Durk returned to the stage later to perform the joint tracks, the two rappers’ chemistry was palpable.

The energy level remained high throughout the set despite the relatively somber vibe of the crew’s songs, although Coi Leray’s appearance injected more fun into the proceedings when she emerged to perform her song “No More Parties,” which Durk features on. The crowd got more hype for a possible Drake appearance when Durk’s band struck up the Canadian’s Durk-featuring hit “Laugh Now Cry Later,” but he was as close to a no show as it gets for an artist who wasn’t on the bill (he was actually across the country at the time, making a surprise pop-up at J. Cole’s opening show on The Off-Season Tour).

A return to normalcy – whether real or imagined – also means a return of silly gimmicks like floating cars and giant mechanical birds. These are the bells and whistles that get fans out of their houses, that ensure the trek downtown and the money spent on tickets, parking, and overpriced concessions are worth it.

For Lil Baby, that meant a bed, complete with spread, pillows, and a pair of scantily clad female companions, suspended over what can only be described as a stage on the stage (or a massive lightbox). Various other furniture appeared on both stages, including a couch and a jewelry tray, from which Baby added to the glittering collections on his arms and neck as he rapped. His female dance team provided most of the motion on stage as he delivered a relatively relaxed performance — although much improved from the pre-pandemic shy guy who’d stick to one corner of the stage. He even danced a little himself after he brought out another set of dancers who looked to be about middle school age

Along with the aforementioned, there was a rolling clothing rack that Baby gripped as he was pushed from one end of the stage to the other by two of his dancers. A game show ensued when Baby offered to bring a fan onstage to pick one bag that was ostensibly full of money from three bags brandished by his dancers, doing their best Vanna White impressions. Even though the person they picked chose the wrong bag, Baby, ever gregarious, still sent the fan home with the correct one.

Normal also means guest stars, and while this part was exciting, it also began feeling problematic as it wore on. When Roddy Rich appeared atop the stage on the stage, it took a moment for the crown to realize he was up there, but they quickly cottoned on, prompting rousing renditions of his songs “Ballin’” and “The Box.” The place went absolutely ballistic, though, when hometown artist Chris Brown appeared from backstage and danced to his hit “Go Crazy” sans Young Thug. Then, just when it seemed the decibel level couldn’t go any higher without causing permanent hearing damage to everyone within a block radius outside the building, Nicki Minaj showed up, marking her first public performance since 2019. She rapped her verses from “Seeing Green” and BIA’s “Whole Lotta Money” as the crowd roared.

As Baby wrapped up the show with his career-defining hit “Bigger Picture,” it certainly seemed like things have gone back to normal. But that song choice inadvertently begged the question: Should things go back to normal? After all, while the 2020 uprisings certainly seemed like the start of something, that movement was very much pushing back against the status quo. Baby, and so many other entertainers, seemed to be gaining a new social awareness that felt powerful coming from their massive platforms. Then, Baby himself rejected that notion, preferring to remain firmly apolitical. Now, a year later, it also feels like the broader progress that started in 2020 has halted in the push to go “back to normal” instead.

Likewise, it can’t be enough that stars are just recognizable without being accountable. The timing of Nicki Minaj’s appearance couldn’t have been coincidental. She’s facing a backlash over her anti-vax tweets and threatening a journalist, as well as a lawsuit for harassment of her husband’s alleged 1995 rape victim. That’s to say nothing of Chris Brown receiving a hero’s welcome, 12 years on since battering Rihanna without so much as a public apology. There has, however, been a string of accusations since then, including a restraining order filed by Karruche Tran in 2017 alleging violence and menacing behavior.

Compound that with all of the usual reckless concert misbehavior — people blowing smoke indoors, heedless of their fellow concertgoers — and it really hammers home the point. The metaphor of people making personal choices that affect others inside this ostensible safe place is harrowing when the scope is expanded to what’s been going on outside of venues where vaccination is required. Going “back to normal” seems to mean going back to a state in which human decency as a whole is optional rather than the bare minimum expectation of society. Sorry to sound preachy here, but the pandemic and resulting shutdowns offered us a chance to determine a new normal, a better normal. In the bigger picture, that should be more important than any album, artist, or concert.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Nicki Minaj Made Her First Public Performance In Two Years At Lil Baby’s LA Tour Stop

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For the past two years, Nicki Minaj has refrained from making very many public appearances as she focused on her growing family. However, tonight at Lil Baby’s Back Outside Tour stop at Staples Center in Los Angeles, she returned to the stage for the first time to perform her verses from “Seeing Green” and BIA’s “Whole Lotta Money” remix. You can watch videos captured by attendees below. The crowd goes bananas as Nicki emerges from backstage, reasserting her presence in pop culture as a rapper instead of a controversy magnet.

https://twitter.com/girlsinrap/status/1441651649404018691

Nicki’s public image could use some rehabilitation after the past few weeks. The “Seeing Green” rapper became the target of backlash and ridicule when she tweeted that she wasn’t vaccinated and shared a relative’s vaccine horror story involving a wedding getting canceled because of the groom’s swollen testes and infertility. Dr. Anthony Fauci debunked the possibility of such vaccine side effects and the Health Minister of Trinidad and Tobago, where the story supposedly took place, even held a press conference to allay the rumor after a thorough investigation.

In the midst of that firestorm, Minaj and her husband, Kenneth Petty, who had pled guilty for failing to register as a sex offender when the couple moved to California in 2019, are being sued by Petty’s alleged 1995 victim Jennifer Hough for harassment. Hough recently appeared on The View to detail both the initial assault from 1994 and the alleged harassment that has gone on for the past two years as the couple supposedly pressured her to recant her original testimony and clear Petty’s name.

Other guests that hit the stage during Lil Baby’s show included local acts Roddy Ricch, who performed his Mustard collaboration “Ballin” and his groundbreaking 2020 hit “The Box,” and Chris Brown, who performed “Go Crazy.” You can see more videos below.

Est Gee And Lil Durk Reflect On Their Upbringings In The Dark ‘In Town’ Video

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Right on the heels of his mixtape Bigger Than Life Or Death, Louisville rapper Est Gee has shared the video for his collaboration with Lil Durk, “In Town.” After a number of breakout songs like the title track of his mixtape, “Price Tag,” “Capitol 1” “Riata Dada,” and “5500 Degrees,” this new video reflects on the hard upbringings both rappers have faced.

Directed by Est Gee’s frequent collaborator Diesel Films, the video is a mix of performance shots and a drive through old neighborhoods that these artists have now transcended but can’t seem to forget. “In Town” is one of the latest songs released off Bigger Than Life Or Death, which had an impressive showing on the Billboard charts despite its mixtape status. The release hit No. 7 on the charts and has earned lots of critical praise for Est Gee, who has been dubbed one of the most impressive rising rookies in rap. As for Lil Durk, he’s been one of Chicago’s most beloved cult rappers for a minute now, and his latest joint album with Lil Baby, The Voice Of The Heroes hit No. 1 on the Billboard 200.

Check out the new video from these two above, and look out for more coming from both soon.