Family and Def Jam Statements on Death of DMX

Born Earl Simmons in 1970, the Yonkers-raised MC arrived as the physical embodiment of unbridled energy—a one-man distillation of fellow rugged New York acts like Wu-Tang Clan.

“We are deeply saddened to announce today that our loved one, DMX, birth name of Earl Simmons, passed away at 50-years-old at White Plains Hospital with his family by his side after being placed on life support for the past few days. Earl was a warrior who fought till the very end. He loved his family with all of his heart and we cherish the times we spent with him. Earl’s music inspired countless fans across the world and his iconic legacy will live on forever. We appreciate all of the love and support during this incredibly difficult time. Please respect our privacy as we grieve the loss of our brother, father, uncle and the man the world knew as DMX. We will share information about his memorial service once details are finalized.” – Earl “DMX” Simmons’ Family

“Def Jam Recordings and the extended Def Jam family of artists, executives and employees are deeply and profoundly saddened by the loss of our brother Earl “DMX” Simmons. DMX was a brilliant artist and an inspiration to millions around the world. His message of triumph over struggle, his search for the light out of darkness, his pursuit of truth and grace brought us closer to our own humanity. Our thoughts and prayers are with his family and all those who loved him and were touched by him. DMX was nothing less than a giant. His legend will live on forever.”

DMX is the only artist in history to have five consecutive albums debut #1 on the Billboard Top 200 Albums chart. That they were the first albums of his career, made his success even more astonishing.

In 1998, “Get At Me Dog” (featuring Sheek of the Lox) not only cracked the R&B/Hip-hop Top 20, Rap Top 10 and Pop Top 40 but went gold, appearing on the quadruple platinum It’s Dark And Hell Is Hot, which also included the Top 10 Rap “Stop Being Greedy,” Top 40 R&B “Ruff Ryders’ Anthem” (he was a founding member of that group), Top 20 R&B “How’s It Goin’ Down” and “Damien.”

The release of Flesh Of My Flesh, Blood Of My Blood later that year marked DMX as only the second rapper to have two albums debut at No. 1 in one year; the first being 2Pac. The triple-platinum album boasted “It’s All Good” and “Slippin’.” Also in 1998 he debuted on film in Belly, whose “Grand Finale” (DMX, Method Man, Nas and Ja Rule) went Top 20 Rap from the soundtrack.

…And Then There Was X appeared in 1999, again debuting at No. 1. The club banger “What’s My Name?” (Top 15 Rap), party anthem “Party Up (Up In Here)” (Top 10 Rap), “What These Bitches Want” (featuring Sisqo) (Top 25 Rap), “One More Road To Cross” and “Here We Go Again” propelled the album to five times platinum. 2001’s platinum The Great Depression spun off a pair of spirited Top 10 Rap anthems–“Who We Be” and “We Right Here.”

In 2003, the soundtrack album to his next film, Cradle 2 The Grave, contributed “X Gon’ Give It To Ya” (Top 20 Rap). He also unleashed the platinum Grand Champ. His fifth straight to debut at the top spot, the album included a Swizz Beatz classic in “Get It On The Floor,” “Where The Hood At?” (Top 15 Rap) and “The Rain.” After signing to another label, his next album debuted at No. 2 in 2006, breaking his string of chart toppers. In 2007, his first Def Jam greatest hits album, The Definition Of X: The Pick Of The Litter, went Top 30.

Following the deaths of Tupac Shakur and the Notorious B.I.G., DMX took over as the undisputed reigning king of hardcore rap. He was that rare commodity: a commercial powerhouse with artistic and street credibility to spare. His rapid ascent to stardom was actually almost a decade in the making, which gave him a chance to develop the theatrical image that made him one of rap’s most distinctive personalities during his heyday.

Everything about DMX was unremittingly intense, from his muscular, tattooed physique to his gruff, barking delivery, which made a perfect match for his trademark lyrical obsession with dogs.

Plus, there was substance behind the style; much of his work was tied together by a fascination with the split between the sacred and the profane. He could move from spiritual anguish one minute to a narrative about the sins of the streets the next, yet keep it all part of the same complex character, sort of like a hip-hop Johnny Cash.

UB Sends Our Condolences to the Family, Friends and Fans.

UB Photos from Soundset 2019!