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Ruff Ryders Entertainment DMX  DMX
Real Name: Earl Simmons
Nicknames: X, Dark Man, Dark Man X, Dark Master X, Divine Master Of The Unknown
Birthday: December 18, 1970
Place of birth: Baltimore, MD
Raised in: Yonkers, New York
Family: 5 Sisters, 2 Brothers, 2 sons, and a wife.
Wifes Name: Tashera Simmons
Sons Names: Xavier & Tacoma
Pets: 2 Pit bulls and a dog named "Mimi"
Pets Names: Bandit and Bobbi
Tattoos: Tattoo on his left arm is a grim reaper with a dog on a leash
Tattoo on his back says, "One love for boomer" which he didicated to his dog who wuz killed in a car accident.
First Album: Born Loser
DMX Factoid: DMX has a scar on his hand in which a fan tried to pull his wrist watch off.
Now: Lives in New Jersey with his wife in a 2 family home.
DMX: Doesn't talk to his sisters much
DMX: Has crazed fans and reporters jump at his gate
DMX: Used to be a DJ
DMX: Started rapping for the girls
DMX: Feels he is 2 different peeps, Earl Simmons and DMX.
DMX FAQ: Earl's GREAT GRANMOTHER won't leave her home without takeing her ruffryders bandana
 Eve Philadelphia's Eve Jihan Jeffers got her first break in the record business the way many rappers go platinum -- she walked right through the front door. The story goes something like this: Some of her friends (who now serve as her managers) hooked up with producer extraordinaire Dr. Dre and arranged an impromptu audition for Eve -- well, kinda,...they never told him that she was coming. "Out of nowhere they put the tape on and I stood up and started rapping and he was looking at me like, 'Why is this girl rapping?'," recalls Eve. Liking what he saw after only a few bars, the executive cut the audition short and promised to bring Eve to California to work with the good Dr. -- Eve was not impressed.
"I had been through a lot of auditions," she admits, "so I thought, 'If he calls, he calls; if he don't, he don't.' But he called the next day - I had auditioned for him on a Saturday and that Sunday he called and told me I had to be out there by Friday."
Eve moved out to L.A. Dr. Dre put her in the studio, where she completed a three songs demo tape. "Eve of Destruction," one of the songs from those sessions, wound up on the Bulworth Soundtrack. Unfortunately, Dr. Dre was still overseeing the growth of his fledgling label, and Eve's one-year contract with Aftermath expired before she could get to work on her album.
"I believe that everything happens for a reason," says a pragmatic Eve. "The music that I really wanted to write at the time wasn't coming through me."
While still in L.A., Eve forged a bond with a rising star named DMX, who she met through producer Mail Man, while X was in town promoting his debut album, It's Dark And Hell Is Hot. When she moved back to Philly, Eve would come to New York and hang out with the rest of the Ruff Ryder's camp. Soon enough, Eve was invited to join Ruff Ryders Records through a trial by fire. "The way I was signed was in a cipher," Eve remembers. "I had to go up against [Ruff Ryders emcees] Drag-On and Infa Red - I was shook. If I was wack, Ruff Ryders wouldn't have signed me."
The fact that you're reading this let's you know she wasn't wack. If you're still not convinced, check her sexy yet hardcore appearances on the Roots' "You Got Me," the remix to "Ruff Ryders Anthem" from DJ Clue?'s The Professional and BLACKstreet's "Girlfriend/Boyfriend" - not to mention her work on Ryde Or Die, the Ruff Ryders' compilation album. Her verses are affirmations of self, recognition, and braggadocio rhyme skills. "I know who I am now and where I wanna take myself and what I wanna show the world," she says. As early as third grade, Eve was winning school merit awards for her short stories, plays and poems. "I had a real good imagination," she assesses. In her early teens she was part of a 5-girl singing group, covering tunes by En Vogue and Color Me Badd. Around the time Michael Bivin's ABC came out, the group's manager suggested they start rapping.
Known as Eve of Destruction, she excelled at rhyming, graduating from cafeteria battles to "stomping all over" Philly's talent show scene and serving as opening act for local rap concerts as part of a female emcee duo named EDJP (pronounced "Egypt") -- all this is before the prominence of the female emcee. "Now, it's more like rapping is the thing right now," Eve observes. "Before, when I was in high school, it really wasn't big -- especially for girls to be rapping."
"I would really like my stage name to be just Eve," she says noting that many people refer to her by the moniker she carried while laying her hip-hop foundation. "Certain people still call me Eve of Destruction. I don't mind it 'cause I'm still her -- I'm still destroying emcees."
 Jadakiss When Jadakiss hit the rap scene with his deafening group, the LOX, all hell broke loose. Why, you may ask, well, primarily because there had never been a hip-hip group in history who revolutionized the sound of hip-hop music as fast as they did. -They're the only group who knew how to precisely give you lyrical food for your mind while simultaneously making thongs shake and drop (check out the meteoric rise of their platinum Money, Power & Respect for evidence). Plus, they redrew the rap map and became an influential force in the musical genre. Now, as one of the toughest and tightest emcees to ever grip the mic, Jadakiss, the LOX's front man, is on the move to jump-start his solo career with his unprecedented album-Kiss Tha Game Goodbye-which, due to its brilliance, is destined to go down in history books.
The infamous Jason "Jadakiss" Phillips has built a career on the backs of wannabe wise guys unaware of his lyrical dexterity. He has been since early childhood. Word on his witty rhyme prowess began spreading thirteen years ago as a potential-laden twelve-year-old rhyme animal clawing at opponents on the tuff turfs of Yonkers, NY. Its not that his opponents were lyrically weak in any shape, form or fashion-, as they would come to battle equipped with some 16-bar ammo. -It's just that the born to kill Jadakiss would extinguish whatever little fumes they'd create with fire lines that averaged 40-bars in length-all from the top of his head. "If anybody was winning a battle it was me," says Jada confidently in reference to his early street, lyrical brawls. "I had millions of rhymes that just tore people's head off."
Aside from the streets, Kiss says he perfected his wit and his rhyming skills during middle school cafeteria sessions. "I'd make up little bits and started entertaining during lunch time. I was just messing around, but the people began telling me that I had talent." A few years later, Jadakiss was afforded the opportunity to get into a recording studio and from that point on parlayed his talent into a remarkable career.
His reputation, like an uncontrollable epidemic, began spreading all over his hometown. World of his battle proficiency and lyrical genius reached the presently wicked Earl "DMX" Simmons, who, at the time, was already tagged with Yonkers legend status. And given Jadakiss incredible potential, X brought him and Sheek (Styles would later join the LOX) to Darrin "Dee" and Joaquin "Waah" Dean of Ruff Ryders, who in turn took the two down to Florida's Jack the Rapper conference. "We wasn't signed to them or nothing," Kiss recalls of the golden opportunity. "They just knew that we was from the same hood as X and they was feeling us. They gave us a chance and we killed it down there."
Ruff Ryders immediately became Kiss' extended family. Kiss and the Ruff Ryders family would retreat to their Yonker's Power House Studios and literally eat, sleep and work together. His squad's hard work, which included a host of classic freestyles housed on DJ Clue tapes, would result in a deal with Bad Boy Entertainment. Their first release, Money, Power & Respect sold 1 million units. The album introduced the crew to the masses, and it gave a glimpse of the extravaganza that was yet to come. The album also provided a podium for hip-hop's community to experience the artists individually. Jada's catchy, clever solo cut "All for the Love," which also highlighted the beginning of Swizz Beatz phenomenal career, initiated calls for Kiss' solo album-the people wanted more of his musical blowtorch.
Jadakiss' resume kept on growing as he continued to work with highly acclaimed megastars, and everyone was watching closely. Along with the penning of Sean "Puffy" Combs' chart-topping "Benjamins" verse he delivered sure-fire bars on classic posse cuts such as Notorious B.I.G's "Last Days," Jay-Z's "Reservoir Dogs" and Noreaga's "Banned From TV." But after his solo gem on Ruff Ryders Vol.1 "Kiss of Death," those solo requests turned into loud demands. The call, he says, haven't added any pressure. He rightfully feels this album will put him atop rap's podium. "I feel that I'm one of the best, definitely," asserts Kiss. "That's how you're supposed to think. They're a lot of dudes that are nice and there's people that I looked up to before I even came into the game, but that's how I feel about myself. I got to make a strong impact in the game."
The celebrated, late Notorious B.I.G. also admired Kiss' wordplay. "He pulled me aside and told me that he wanted to work with me. He wanted me to write some songs for Cease's album. After he passed things got discombobulated."
Lyrics Sharper Than Broken Glass
In order to make that strong impact he talks about, the 25-years old MC has expanded his arsenal. -So much that he has recently been collaborating with other super artists for added dimension (Sunshine Anderson's "Heard It All Before" remix, the DJ Clue mega hit "Back to Life 2001" featuring Mary J. Blige and Mya's scorching hit "Best of Me"). His other incredible hits also includes "Got It All" (featuring Eve) and the charged-up "Fiesta" remix (featuring R. KELLY). Now, Kiss is taking his career one stop further toward stardom. Along with his jab and move punch lines aimed at hip-hop junkies, Jadakiss' Kiss Tha Game Goodbye cuts to the aforementioned other audience-cuts that'll undeniably put him in ranks among the heavyweights. The charged-up radio smash hit "We Gonna Make It" electrified airwaves throughout the country. Swizz's maniac Trinity keyboard mastery provides much spunk to the semi sexual, semi comical "On My Way" and the biographical "Feel Me" is arguably Kiss' best work to date. The track, a 40-bar summary of Kiss' entire life, will prove to be some of the best storytelling hip-hop has heard this year. On "All For Love," Kiss said, "When you think of me, you think of a problem,"-which till this day has proven to be true.
Kiss Tha Game Goodbye has appeal. His ability to mix gangsterism and braggadocio is absolutely first-rate. Jadakiss's menacing voice and thunderous production create a masterful musical atmosphere that thrills and intimidates-a superb blend of hard-core sounds and sensibilities.
 The Lox That is when it comes to putting out garbage that the streets can't feel. Presently, the masses that are ignorant to the true life force of Hip-Hop want easy to digest, microwavable ear sweets that they can wave glasses of cheap champagne to. It's too bad that the Lox can't provide that. They're too busy improving style and rhyme flow that influenced an entire wave of emcee. Pay attention to the majority of uptown and Harlem based rappers and you will hear the lyrical path that Jason "jadakiss" Phillips, David Styles, and Sean "Sheik" Jacobs laid down for the rest. Even though they've sprinkled their sharply spiked lyrics over softer hits by the likes of Mariah Carey ("Honey"), LSG ("you Got Me") and Mona Lisa ("I Just Wanna Please You") the Lox have the uncanny ability to create true to life verses that give any song a ghetto pass into the hearts of the rough and rugged. "Even if we rhyme on some commercial shit we still keep it street," Styles confirms. So let it be known, The Lox absolutely suck at spitting that ol' fake stuff that dung lovers are afraid of.
In 1994, the Lox started their saga in the Ruff Ryders team (as a group called the Warlocks) in Yonkers, New York that bred platinum heavy-hitters Mary J. Blige and DMX. It was the ghetto songstress Blige who helped to open the politically padlocked doors for the hungry emcees. "We were always tight with Mary, " says Sheik. "She always used to listen to us when we were on the mix tapes and she introduced us to Puff." Once in contact with the multi-million dollar producer/artist/entrepreneur, The Lox (which now stands for Living Off eXperience) penned monstrous hits for him such as Biggie's "Victory", Puffy's "Seniorita", and Mase's "Can't Nobody Hold Me Down" (remix) and Faith's "You Used To Love me". In 1997 The Lox went to bat and grand slammed with their soul-warming memorial to the Notorious B.I.G. "We'll Always Love Big Poppa" which reached sales in the millions. Soon after their verbal sorcery was unleashed on the '97 club Bangor "It's All About The Benjamins". "We didn't like it at first," Jadakiss recalls. "D-Dot (Deric Angelettie) gave us a beat and we just did it." Little did they know their abrasive delivery and quick wit launched them into the spotlight making them the recording industry's most wanted. The Lox became a hood-hold name and their buzz was incredible.
When the Lox' debut album "Money, Power, & Respect" hit the shelves in 1998, the momentum was unstoppable. The title track featuring Lil' Kim captivated listeners and further established The Lox as a powerful entity that stood alone from bad Boy Records flashy, playboy image. They were dubbed Bad Boy's "Underground group" which solidified the label's street credibility. However, the trio was unhappy with the way their project was being presented and entered into a conflict with their manufactured appearance of floss. "That wasn't us, we're straight up street, " says Sheik. "We weren't happy around the shiny suits and fancy stuff. We've never been that." Time continued to tick by as The Lox wrestled with the red tape of company politics and they became frustrated. This frustration leaked onto the streets when fans initiated a full "Free The Lox" campaign full of picket signs, T-shirts, and protest. In 1999, Sean "Puffy" Combs decided to let The Lox out of their contract to travel their own road where they returned to their foundation with Ruff Ryders. "The Lox were always Ruff Ryders", Jadakiss explains. "We had to be sacrificed (to the industry) so all the others could come through." Now back at home with the Ruff Ryders camp, The Lox have hooked up with production wizard Swizz Beats to release their riot hymn, "Wild Out" from their sophomore album "We Are The Streets". The Joy of returning to their street rots is evident through the album. On the title track, their hook, "It ain't hot unless we on it 'cat/we are the streets and we makin' it hard to eat," expresses both their confidence and hunger to remain the true representatives of the real.
Making sure not to exclude other beatmasters, The lox have solicited the talents of other producers such as DJ Premier of Gangstarr, Timbaland, to round out the album's musical scope. Lyrically, the team has recruited artists outside of the Ruff Ryders camp like their Yonkers peer Kasino to rock as well. All these powerful elements combined helps The Lox ingenious goal defining every detail of street life worldwide.
During their struggling period with Bad Boy, The Lox continued to assault listeners with reminders of their existence and promise of a full return. During that time, they flipped devastating prose on the Ruff Ryders "Ryde Or Die Vol.1" album, Mary J. Bilge's "Mary", and DMX' "Blood Of My Blood, Flesh Of My Flesh." They also blazed on underground joints with Capone & Noreaga, Kasino, and Funkmaster Flex. Knowing that silence is death in the rap game, The Lox made sure to make their presence felt.
As it seems even if they were to try to be wack, The Lox couldn't do it. They defeated the obstacle of making a name from the ground up; they smashed through the contractual bullshit and still kept the streets locked down. With all the problems they faced, the anticipation grows greater for the next Lox record. If anyone is looking for the Lox to fall off and fail, tough luck, it won't happen any time soon.
Drag-On Bio Comming Soon. |
